• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.5
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• pp.623-634
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• 1999

The purpose of this study is to explore the culture of clothing of subgroups among adolescents by residence. In this research informants were selected by selective sampling and ethnographic methods such as field work depth interviews and open-ended descriptions were employed to interpret their culture of clothing. The results were followed. First our adolescents enjoyed the popular song as leisure and these popular culture was their inspiration source of style. Second adolescents were grouping the Kang-Bouk and the adolescents group preferred the style of popular singers and the Kang-Nam adolescents group preferred the musical competence of singers and specific type particularly Hip-Hop style. And in acception pattern of fashion style the Kang-Bouk groups accepted the recent fashion style continuously and wanted to be striking while the Kang-Nam groups accepted the various Hip-Hop styles and sought to comfort and suitability of that style. Third to consider the connotations of marketing the Kan-Bouk groups shopped on the street perceived as fashionable among peer groups and sought to the lower price but the Kang-Nam groups used the shops selling their original ip-Hop style without regard to the price and sites. Although there existed a two years' difference between the first and the second research(1996-1998) subgroups among adolescents according to the residence have had their own culture of clothing constantly. And a segmentation tendency by clothing behavior within the same adolescent generation is revealed more visibly.

• SUVANNABHUMI
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• v.16 no.1
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• pp.15-38
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• 2024

In this paper, I will pursue initial ideas I formulated in 2012 about the permeation of Korean influences in Philippine popular culture, particularly in the production of serialized TV drama/soap operas or the "teleserye" [tele for television + "serye" or series; thus, TV drama series]. I called the phenomenon the "Korean Turn" as I observed the emulation of Korean televisual drama (nowadays called K-Drama) modes and practices by local production through various means of cultural appropriation. This time, I will expand my exploration to other aspects of Philippine entertainment and other cultural practices. I will also update my observations on the continuing "Korean turn" in the teleserye. I will argue, on the one hand, about the success and soft power of hallyu or the "Korean wave" in the Philippines; and on the other, about Philippine culture's enduring ingenuity in its reception and repurposing of hallyu. Ideas to be yielded here will form part of a potential framework in understanding the dynamics of the interface between Korean and Philippine cultures, in the context of globalization. I assert that popular culture remains to be an undervalued field of inquiry, as far as these contexts are concerned.

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.879-888
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• 2003

Song is a significant message with organic combination of relics and melody. As such, songs could be an important way to deliver messages in the relics and melodies. Among the several kinds of songs ‘popular song’ is the most common and has the strongest effect on the public. On this purpose, total 700 songs published from 1995 to 2001 popular songs have been researched after extracting 100 songs chronologically in regards of broadcasting times, popularity rankings and records of yearly awards during its production year. These selected popular songs have been collected and studied before sampling the expression of the costume included in the relics. Clothes, hair styling, make-up, shoes & purses, accessaries and body figure, etc. are covered In this study. As the recent symbolism embedded in the relics of popular songs is closely related with our generation background, public preference & dislike and the change of modem costume, it shows the symbolism of costumes evidently again.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.461-482
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• 2008

The science fiction was established as a typical genre of the American popular culture by the monumental releases of two series: Star Wars and Star Trek. Based on the popular science discourse, these two series have functioned as an ideological apparatus for re-appropriating Frontierism which reflects the essential values of American myth. Arguably, the SF genre owes its success mainly to the increasing popularity of science during the 1960s and 1970s, which was well represented in the space project of NASA. This power of popular science, however, tended to weaken in the 1990s as the public interest in NASA's project gradually decreased. "Deep Space Homer," an episode of The Simpson's fifth season, reflects the changing attitude of the American audience toward the new American hero created in the SF series of popular science in the previous popular culture.

• 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.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.105-111
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• 2018

This study aims to investigate Youth Culture in the Stream of Popular Culture by 'The Relation-Approach'. For this, the relations between the two were reviewed, through which the meaning and practical actions were identified as main finding of the fact that youth culture has cultural meaning with possibility. Namely, youth culture is not the culture of passive culture, addressee culture and consumer culture but the culture of active culture, addresser culture and producer culture. Further more, the practical actions as the culture of having new possibility in the stream of popular culture were found to be approached by epistemological and institutional practical actions. The importance of epistemological practice of youth culture is revealed as the importance of perspective. As far as youth culture is approached in the view of exclusive standpoint, there will be accompanied of limitation of closed youth culture. Thus, the possibility of open youth culture could be obtained by taking of the inclusive standpoint. Accordingly, the open possibility of youth culture will have the new possibility in the concept of open culture with open standpoint. That will be realized by the grand broad culture concept, not by the small narrow culture concept.

• Journal of Contemporary Eastern Asia
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• v.19 no.2
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• pp.179-196
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• 2020

Despite the enormous success in Japan of Korean popular culture, including TV dramas and K-pop, over the past few decades, anti-Korean sentiment in the country has become increasingly visible and intense. In this article, we examine how young Japanese female fans of Korean popular culture engage with the Korean Wave discourse while also engaging with―or, rather, disengaging from―anti-Korean movements and hate speech. Whereas previous scholarship on the Korean Wave has emphasized the power of active fans' agency, this paper investigates how the fans who passionately and self-reflexively consume Korean popular culture understand and react to the growing anti-Korean sentiment in Japan. Through in-depth interviews with 15 of these fans in their 20s and 30s, we show how they have navigated the discursive space between appreciation for Korean culture and anti-Koreanism in Japan.

• Cross-Cultural Studies
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• v.46
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• pp.253-279
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• 2017

This study aims to examine how the Chinese popular culture, especially music, can contribute to diversification of the ancillary materials for teaching Chinese language, literature and culture, based on the analysis of some songs of Jay Chou. For this purpose, this study analysed 10 songs that have been used in the tests or the text contents in China or Taiwan in terms of rhyme, words relation to the ancient poems, and the Chinese culture. Consequently, the songs of Jay Chou show that they can be used as an ancillary material in the Chinese class from the linguistic, literary, and cultural angles. For use in the Chinese language, literature, culture class in the future, there is a constant need to discover and analyse new materials from the Chinese popular culture.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.141-163
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• 2001

This study was to analyse the meanings of the appropriation inherited in the modern costumes from the latter of the 20th century to the present. According to the dictionary, the meanings of a word. "appropriation" is to steal something, used in order to avoid saying this directly. The sorts of the appropriation represented in the works of Art was as follow : First. the reconstruction by the imitation of the works of a great master or partly induction of the works of a great master Second, the introduction by the history, modern art, the image of popular culture Third, the imitation by the works of photograph, etc The appropriation in the modern costumes could be distinguished as two facts : First, the appropriation of the image of popular culture, 1) the way by the induction of popular factors of the extremely routine, commonplace character 2) the way by the citation of critical sentence of society, complaint message of the situation of times. Second, the reinterpretation of the past works : 1) the way by the reinterpretation of a great artist′s works, or popular works. In accordance with its change of a standard of value of the beauty, the products of modern culture, called the artificial second image, that is, popular factor, ready made factor, a signboard, a trademark etc, was appropriated in modern costumes and was reinterpreted by the works of fashion designer′s empathy. We can say that the modern costumes is not only the products of creative, original action of fashion designers but also the mirror of times, having relationship with society.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.