- 著者
- 喜多 満里花
- 出版者
- 日本メディア学会
- 雑誌
- マス・コミュニケーション研究 (ISSN:13411306)
- 巻号頁・発行日
- vol.97, pp.181-199, 2020-07-31 (Released:2020-09-26)
- 参考文献数
- 29
Popular cultural content is transnational, as it is produced across nationalborders. However, it is used as a tool to represent national image and identityfor branding, which is contradictory. Therefore, two issues will become thesubject of discussion: signifying the processes of policy makers and theeffects of these discourses on people’s national identity. This study examinesthese issues through document analysis of Korean government publicationsconcerning Korean popular music( K-Pop). The study shows that K-Pop signifies two different things in thesedocuments.Documents written in English say that it is “hybrid and transnationalmusic” for external branding, whereas those in Korean claim that it has“original content, inheriting Korea-ness from traditional culture” for internalbranding.In addition, the government’s view of national identity and culturalnationalism shown in internal branding is not considered by the Koreanpeople in their reactions to discourse about the Korean wave or change ofgovernance. This rejection of this reconstructed national identity differs fromthe circumstances shown in previous studies.
- 著者
- 喜多 満里花
- 出版者
- 日本マス・コミュニケーション学会
- 雑誌
- マス・コミュニケーション研究 (ISSN:13411306)
- 巻号頁・発行日
- vol.97, pp.181-199, 2020
<p> Popular cultural content is transnational, as it is produced across national</p><p>borders. However, it is used as a tool to represent national image and identity</p><p>for branding, which is contradictory. Therefore, two issues will become the</p><p>subject of discussion: signifying the processes of policy makers and the</p><p>effects of these discourses on people's national identity. This study examines</p><p>these issues through document analysis of Korean government publications</p><p>concerning Korean popular music( K-Pop).</p><p> The study shows that K-Pop signifies two different things in these</p><p>documents.</p><p>Documents written in English say that it is "hybrid and transnational</p><p>music" for external branding, whereas those in Korean claim that it has</p><p>"original content, inheriting Korea-ness from traditional culture" for internal</p><p>branding.</p><p>In addition, the government's view of national identity and cultural</p><p>nationalism shown in internal branding is not considered by the Korean</p><p>people in their reactions to discourse about the Korean wave or change of</p><p>governance. This rejection of this reconstructed national identity differs from</p><p>the circumstances shown in previous studies.</p>