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Submitted by Mario BC (mario@bc.ufrpe.br) on 2018-09-06T18:19:41Z No. of bitstreams: 1 Aline Gomes Santana.pdf: 1432640 bytes, checksum: bd01058f7c2c5100fff892e0fd26a993 (MD5) / Made available in DSpace on 2018-09-06T18:19:41Z (GMT). No. of bitstreams: 1 Aline Gomes Santana.pdf: 1432640 bytes, checksum: bd01058f7c2c5100fff892e0fd26a993 (MD5) Previous issue date: 2018-02-20 / The research has analyzed the process of cultural hybridization lived by college students with the cultural segment of south-Korean origin called hallyu. It was intended to comprehend how the young adults interact with the hallyu and how it’s consumption conducts their identity’s formation through reconversion of their daily manners. The study took as theoretic base the discussions about the cultural studies conducted by Canclini, beyond ideas presented by Bauman and Martín-Barbero about youth and the use of information and communication technologies (ICTs) as a tool for the consumption of the hallyu. The methods used for the research were the observation techniques, beyond the gathering of data from bibliographical productions, the application of semi-structured interview and the use of netnography to observe and collect information on the virtual field (sites and social networks), wildly used by the observed individuals, that could contribute with the study’s production. The analysis was realized through the categorization of the young adults, identification of the elements that constitutes the hallyu and the reconversion of the young adults with the south-Korean culture. Finally, the study invices that the young adults seek the hallyu as reference for their identity’s formation using the ICTs as a tool to surpass the frontiers that separates them from that oriental culture. / A pesquisa analisou o processo de hibridização cultural vivenciado por jovens universitários com o segmento cultural de origem sul-coreana denominado hallyu. Buscou-se compreender como os jovens interagem com a hallyu, e de que forma o consumo desta orienta sua formação identitária a partir da reconversão de suas práticas cotidianas. O estudo tomou como base teórica as discussões sobre os estudos culturais levantados por Canclini, além das ideias apresentadas por Bauman e Martín-Barbero sobre juventude e o uso das tecnologias da informação e comunicação (TICs) como ferramenta para o consumo da hallyu. Como metodologia da pesquisa foram usadas as técnicas de observação, além da coleta de dados a partir de produções bibliográficas, da aplicação de entrevista semiestruturada e do uso da netnografia para observar e coletar informações no campo virtual (sites e redes sociais), muito utilizado pelos indivíduos observados, que pudessem contribuir com a produção do estudo. A análise foi realizada a partir da categorização dos jovens, identificação dos elementos que constituem a hallyu, e a reconversão dos jovens com a cultura sul-coreana. Finalmente, o estudo evidenciou que os jovens buscam a hallyu como referência para sua formação identitária, utilizando as TICs como ferramenta para superar as fronteiras que os distanciam desta cultura oriental.

Ce mémoire s’intéresse aux fans d’un phénomène encore mal connu au Québec. En effet, la vague coréenne surnommée le hallyu a atteint — notamment à travers la K-pop — un public féminin au sein du Québec, sans que nous en connaissions les tenants et les aboutissants. Cette recherche s’articule autour du souhait d’obtenir une meilleure compréhension de l’intérêt que portent les admiratrices québécoises envers la culture musicale coréenne et souhaite comprendre les conséquences de cette passion sur leurs quotidiens. Ainsi, on découvre que l’appréciation de la musique coréenne engendre celle de la culture coréenne et résulte en plusieurs formes d’appropriation à travers l’apprentissage du coréen, l’intérêt pour les produits de divertissements télévisuels, la connaissance des us et coutumes et le goût pour la cuisine coréenne. Cette appropriation provoquée par le soft power coréen contribue à la construction identitaire des admiratrices de K-pop. En effet, ce mémoire révèle que les interlocutrices intègrent de nouveaux critères de beauté, s’inspirent des valeurs confucéennes coréennes, se considèrent plus tolérantes et ont le souhait de voyager en Corée du Sud, voire d’y séjourner pour une longue durée.

This qualitative study has chosen to examine how South Korea and its popular culture isbeing portrayed in Swedish journalistic and how it may come to play a role in theportrayal of South Korea as a society. Our aim with the research was to see how SouthKorean popular culture is portrayed in Swedish journalism and to investigate whetherthe Swedish presentation of South Korean popular culture also can be used to shareperspectives regarding societal standards, and how popular culture is used engagediscussions about South Korea as a society. The chosen method was a qualitativetextual as well as a thematic analysis when analysing our empirical material. We haveused theories of framing, cultural globalization, semiotics, news value and culturaljournalism.Our analysis shows how South Korea and the Korean wave, also known as Hallyu, hasbeen on a rise to fame during the last two decades. From mega pop bands to Oscaraward winning movies such as Parasite, South Korea has come to be one of the mostrecognized countries in terms of movie, TV, and music. Parallel to this an interest hasgrown around the world and Sweden for the Swedish media to report on differentinstances regarding the South Korean popular culture. The majority of our discussionrevolves around how the articles are offering us as researchers an interpretation as wellas where and if there is a difference in reporting on various subjects regarding bothSouth Korea's perceived image as a country and how their popular culture andcelebrities have come to have played a role in this.The result from this study suggests that there is a difference in where the focus of SouthKoreas popular culture lies depending on the subject of the article and that there is notonly one type of portrayal. The results also show that celebrities make out a huge part ofthe subjects that are being published regardless of aim.Keywords: text, culture, globalization, hallyu, article, society, media / Denna kvalitativa studie har valt att undersöka hur Sydkorea och dess populärkulturskildras i svensk journalistik. Vårt syfte med forskningen var att se hur sydkoreanskpopulärkultur skildras inom svensk journalistik och undersöka om den svenskaframställningen av den Sydkoreanska populärkulturen även har ett samhälleligtperspektiv, samt om och hur populärkulturen används för att kunna föra en diskussionangående Sydkorea som samhälle. Den valda metoden var en kvalitativ text- samttematisk analys och vid analysen av vårt empiriska material använde vi teorier omgestaltning; kulturell globalisering, semiotik, nyhetsvärde samt kulturjournalistik.Vår analys visar hur Sydkorea och den koreanska vågen, även känd som Hallyu, harvuxit i framgång under de senaste två decennierna. Från megapopband tillOscarsbelönta filmer som Parasite, har Sydkorea kommit att bli ett av de mest erkändaländerna när det gäller film, TV och musik. Parallellt med detta har intresset vuxit runtom i världen och Sverige för att svenska medier ska rapportera om olika inslag kringden sydkoreanska populärkulturen. Den största delen av vår diskussion kretsar kringvilken tolkning artiklarna erbjuder oss som forskare samt var och om det är skillnad irapportering om olika ämnen vad gäller både Sydkoreas upplevda image som land ochhur deras populärkultur och kändisar har kommit att haft en betydande roll inom detta.Resultaten från denna studie tyder på att det finns en skillnad i vart fokus för Sydkoreaspopulärkultur ligger i texterna beroende på ämnet för artikeln, samt att det inte barafinns en typ av skildring i framställningen. Resultatet visar även hur kändisar utgör enstor del av de ämnen som publiceras oavsett vinkling.Nyckelord: text, kultur, globalisering, hallyu, artikel, samhälle, medium

Within both academic environment and political circles internationally too much emphasis is placed on military and economic power and too little to soft power. While, according to Nye, out of the three modes of political power soft power has the greatest potential to deal with critical global issues and foster multilateral co-operation among states its application is usually severely restricted to co-ordination issues due to various preconceived positivistic assumptions on the part of both political scientists and political decision-makers. This descriptive-analytical MA thesis aims at re-interpreting and therefore extending the legitimacy of soft power by means of thoroughly analysing South Korea’s soft power wielding experience. In order to achieve the objective above the paper sets itself the following tasks: (a) to provide a concise introduction into Nye’s discourse on soft power; (b) to provide a concise historical overview of the development and spread of South Korea’s popular culture; (c) to reveal the uniqueness of South Korea’s soft power content; (d) to highlight the singularity of South Korea’s soft power wielding strategies; (e) to practically apply South Korea’s soft power wielding experience in terms of revising the existing soft power theory. The most thought-provoking aspects about South Korea’s soft power wielding with special reference to South Korea’s soft power content are the following: (a) as its crucial soft power resource South Korea chose the most... [to full text] / Šis magistro darbas „Pietų Korėjos švelniosios galios ypatumai: Pietų Korėjos dramos ir filmo kaip Pietų Korėjos populiariosios kultūros bangos segmentų vaidmuo“, kuris pasitelkia diskriptyvų ir analitinį tyrimo metodus, tyrinėja Pietų Korėjos dramas ir filmus Pietų Korėjos populiariosios kultūros bangos kontekste per švelniosios galios prizmę. Tiek akademiniuose tiek politiniuose diskursuose tarptautiniu mastu pernelyg daug dėmesio yra skiriama karinei ir ekonominei galiai ir per mažai švelniajai. Džozefas Nai teigia, kad būtent pastaroji galios rūšis, t.y. švelnioji galia, turinti neišnaudoto politinio potencialo, kuris gali būti panaudotas spręsti įvairias opias tarptautines problemas. Šio darbo tikslas yra remiantis sėkmingu Pietų Korėjos švelniosios galios akumuliacijos pavyzdžiu pamėginti iš naujo interpretuoti švelniosios galios sąvoką ir išplėsti jos politinį legitimumą. Atitinkami išsikelti uždaviniai yra šie: (a) sintezuoti Džozefo Nai diskursą apie švelniąją galią; (b) išanalizuoti Pietų Korėjos populiariosios kulūros vystymąsi ir plėtrą iš istorinės perspektyvos telkiantis ties populiariaisiais Pietų Korėjos drama ir filmu; (c) atskleisti populiariųjų Pietų Korėjos dramos ir filmo kaip esminių Pietų Korėjos švelniosios galios resursų unikalumą; (d) atskleisti Pietų Korėjos vyriausybinių strategijų siekiant akumuliuoti švelniąją galią unikalumą; (e) pasiūlyti konkrečias konceptualias kryptis, kurių laikantis būtų galima papildyti Džozefo Nai diskursą apie... [toliau žr. visą tekstą]

This paper presents the concept of soft power which is applied on the case of the Republic of Korea. South Korea, defined as a middle power, strives to make itself visible in the international milieu by focusing on soft power and multilateral cooperation with other countries. The Korean Wave (or Hallyu) refers to the increased export of Korean cultural products (mainly popular music, dramas and films) to the rest of Asia and to the world and projects an image of modern and cool country which attracts foreign tourists and students and helps the branding of the nation and its products.

The purpose of this study is to examine and analyse how the Korean pop culture depicts Korean masculinity. The theoretical point of departure in this study is based on Connell's theory of masculinity in order to define the Korean masculinity. Furthermore, this study also uses Lippman´s theory of stereotypes to determine the potential stereotypical formation of Korean males. By using a qualitative semiotic analysis, this study aimed to identify through a Korean perspective how the phenomenon Hallyu represents the Korean masculinity. In other words, how the Korean media and popular culture visualises and represents the Korean men. Moreover, for the ability for us to define the visual representations of the Korean masculinity we used Barthes' semiotic method. In addition to Barthes it was also used the list of male characteristics and attributes by Daniel Ekman in order to further define masculinity and develop the analysis. In total this study analysed eight different K-Beauty campaigns and two different K-pop music videos. Based upon the result from this study it was identified and defined a different formation of masculinity that was represented within the Korean pop culture. This new formation that was shown in both K-beauty and K-pop indicated that the traditional Korean masculinity is no longer standardized within the Korean pop culture. Therefore, based upon the findings from this study it was concluded that this new masculinity has reached a global audience. This audience will with high probability be influenced by this new image depicted by the Korean man.

This paper is an empirical study examining the reasoning behind Swedish adults’ choices of attending Korean language programs in the Republic of Korea. By using anthropological modes of inquiry and methods such as participant observation and different qualitative interviews, the focus of the research is on the mental processes behind these choices. Through a utilization of the analytical concept of imagination, what is argued is that these individuals’ choices are engendered and regulated by several factors, such as engagement with Korean culture-products and certain practical conditions, but that the greatest importance lies with their own understandings and agency.

The purpose of this dissertation is to chart how the development of visual effects has changed popular cinema¡¯s vision of the real, producing the powerful reality effect. My investigation of the history of visual effects studies not only the industrial and economic context of visual effects, but also the aesthetic characteristics of the reality effect. In terms of methodology, this study employs a theoretical discourse which compares the parallels between visual effects and the discourse of modernity/postmodernity, utilizing close textual analysis to understand the symptomatic meanings of key texts. The transition in the techniques and meanings of creating visual effects reflects the cultural transformation from modernism to postmodernism. Visual effects have developed by adapting to the structural transformation of production systems and with the advance of technology. The studio system strongly controlled the classical Hollywood cinema by means of the modern economic production system of Fordism. Breakdown of Hollywood classicism as a production system gave rise to the creation of digital effects with the rise of the concept of the blockbuster and with the development of computer technologies. I argue that the characteristic feature of time-space compression, occurring in the process of the transition from Fordism to flexible accumulation, clearly reflects that of compression of multi-layered time and space, generated in the development process from analog visual effects, such as trick, rear and front projection, to the digital effects, such as rotoscoping and CGI animation. While the aesthetics of analog visual effects, without computing, can be compared to a Fordist production system, digital effects, which hugely rely on CGI manipulation, are examples of flexible accumulation. As a case study of the local resistance or alternative of Hollywood today, I examine the effects-oriented Korean nationalist blockbuster. The Korean nationalist blockbuster films have sought large-scale filmmaking and presentation of spectacular scenes, including heavy dependence on the use of special effects, which is frequently considered a Hollywood style. This paradoxical combination of peculiar Korean subjects and Hollywood style can be viewed as a form of cultural jujitsu, taking advantage of the force of the dominant culture in order to resist and subvert it.