Globalization now receives as much or more attention as any concept in the academic lexicon. While scholars and pundits struggle to grasp its complex and varied worldwide manifestations, few researchers have yet focused on the South Korean media and its relationships with state and civil society, situated as it is within a complex political economic terrain. The role of agencies and institutions, especially state involvement in the media sector and in culture more broadly, has been controversial for communication scholars. In the last two decades a dramatic upsurge of neoliberal thinking has glorified the virtues of unregulated markets, and so-called ¡°end-of-history¡± discourse has ideologically championed incessant deregulation and economic and cultural privatization. Many neoliberalist scholars have argued that human nature and the structure of modern political, economic and cultural activities are such that the more constrained is the state, the better will be the quality and competitiveness of the more autonomous realms of enterprise and civil society. By contrast, my aim is to provide a fuller understanding of the political economy of a national/regional, as well as global mediascape, and to offer a more nuanced analysis of the role of the state and civil society in global and local cultural transformations, by careful attention to the case study of South Korea. Specifically, I examine interventions by the state and civil society in transforming the scene of national and global mediascapes, focusing on their various policies, regulations, movements and other initiatives. While it would be absurd to deny the pressures on semi-periphery by powerful international organizations (e.g., the IMF or WTO), these global constraints and pressures do not wholly dictate policy outcomes, whether economic or cultural, and globalization is not an inevitable nor omnipotent force that utterly deprives societies of their ability to maneuver when they must decide on policy. Hence development or social changes are negotiated in a manner more complex than typically acknowledged by globalization scholars (from the left or right), and in ways that aim to open up closed and inefficient institutions and reflect local social conditions and its needs, and sometimes succeed in doing so.

中文摘要 本論文以台灣出發前往韓國的觀光團為對象，1998年為「韓流」的分界點，前後各十八年，分別為「韓流前」與「韓流後」二階段為時間軸來探討。從韓流前的觀光旅遊書，以及資深領隊與線控的深度訪談，到韓流後台灣旅行社出團的40個不同觀光行程，依照其中所安排的餐飲料理、觀光景點、購物種類這三大項，來分析在韓流前與韓流後的差異與其原因。除了行程中不同的觀光內容與價格取向等，並且檢視在韓國政府與民間團體的努力下，塑造出來的「文化韓國」，是否能讓台灣民眾以觀光的方式，可以認識真正的韓國文化精髓。 本論文正文共計四章十二節。前三章的第一節先歸納出韓國當地的餐飲、景點、物產的特色；第二節是比較台灣人觀光團在韓流前與韓流後，這三大項的異同；第三節則是觀察這三大項的轉變與探究其原因。第四章為台灣視野下的韓國，第一節是從當地不同區域所推出的觀光路線種類，來確認韓國透過觀光文化傳播想要達到的目的；第二節從台灣推出的赴韓觀光團來分析，經過旅行社篩選後的行程能在韓國有的真正體驗；第三節統整台灣人的觀光團所觀察到的韓國與韓國人想要呈現的意象。 赴韓觀光團的餐飲、景點與購物三大項安排，是台灣人以觀光為手段，碰觸到韓國文化最直接的方式。本論文指出其中不同的轉變，也發現韓流不只是觀光行程選擇上的重要因素，對於韓國意識與文化傳播的影響，更有其特殊存在的意義。 關鍵詞：韓流、韓國觀光、韓國餐飲、韓國景點、韓國購物、韓國意象。 / Abstract This paper is based on the tour group which travels to Korea from Taiwan. And 1998 as the "Korean wave" dividing point, which is eighteen years before and after the "Korean wave" and "Korean wave" as the time axis of the two stage.From the Korean Tourism books, as well as senior team leader and the depth of the interview, to the tour of 40 different tour itinerary of the travel agency from Taiwan， in accordance with the arrangements for food restaurant, tourist attractions, shopping category of these three items, to analyze the difference before and after the Korean wave and its causes. In addition to the different sightseeing content and price orientation in the trip, and view the "culture of Korea" created by the efforts of the Korean government and civil society , whether can let the people of Taiwan to sightseeing, can understand the true essence of Korean culture. The main body of this thesis consists of four chapters and twelve sections. The first section of the first three chapters first summed up the Korean local food, attractions, property characteristics; the second section is to compare the Taiwan people sightseeing group in the Korean before and after of the Korean wave, the similarities and differences between these three categories; the third section is to observe the changes of these three items and explore the reasons.The fourth chapter is Korea from the perspective of Taiwan, the first section is introduced from different regions of local sightseeing route type, to confirm the Korean cultural communication through sightseeing purpose; the second section from Taiwan to Korea launched a tour of the travel agency, after screening after stroke and some real experience in Korea; the third section system the Taiwan people sightseeing group observed by the Korean and Koreans want to render images. To the Korean tourist group of food, attractions and shopping arrangements for the three items, the people of Taiwan to sightseeing as a means of touching the most direct way of Korean culture. This paper points out the different changes, and found that the Korean wave is not only an important factor in the choice of tourism itinerary, but also has a special significance for the influence of Korean consciousness and cultural communication. Keyword：Korean wave、Korean tourism、Korean foods、Korean shopping、Korean attractions(Scenic spots)、Korean images。

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.

This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. In conclusion, the Korean Wave has rekindled national forces in spreading local popular content globally in three ways: 1) by deconstructing a binary approach of West vs. non-West, and Global vs. Local in order to understand media cultures and practices; 2) by understanding the rise of Northeast Asian media connections as part of a global culture; and 3) by decolonizing non-US/UK state actors to perceive their actions, which hinges on the ongoing centrality of nation-states in the global media sphere. / Media & Communication

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.

The Korean Wave has taken the world by storm and Korean beauty (K-beauty) has in extension to this become a global phenomena. K-beauty has reached this popularity with the help of authentic and natural ingredients and a combination between tradition and modernity creating a competitive advantage on the market. Despite this popularity a lack of research has been identified on how the “​Made in Korea”​ label affects consumer’s perception of Korean products and in specific K-beauty products. The current study addressed this opportunity in examining how consumers perceive K-beauty products in addition to country-of-origin affects their purchase intention. To examine this a qualitative approach was taken consisting of 11 email interviews with millennial women residing in Sweden. The empirical data derived from the interviews was divided into four themes (1) Made in Korea, (2) Image, (3) Quality and (4) Effect. The findings were then analyzed in regards to the country-of-origin effect (COE) and previous research on the topic. The results identify two main attributes as driving factors in consumer perception of K-beauty products on the Swedish market. These two attributes are image and quality. Korea was in this study found to carry a strong cognitive country image (CCI) and is as a result perceived to be on the forefront of the beauty industry creating an attraction towards Korean products. Although K-beauty is found to be driven by the CCI a connection to the Korean Wave and an affective country image (ACI) is found creating a separation in the country image. This was further found to suggest that the Korean Wave facilitates the spread of Korean culture through all Korean products. Future research directions are additionally discussed.

This dissertation illustrates the cultural dimension of globalization by examining how the ascendance of South Korean popular culture, i.e., the Korean Wave, reshapes the global imagination and transforms the locality of Korean Americans in Philadelphia. As an ethnographic global media study, I conducted in-depth interviews and participated in Korean cultural events/meetings, as well as visited the sites of living for Korean Americans in the Philadelphia metropolitan area. My research finds that advances in the digitalized media environment made my informants consume copious transnational Korean media every day and individualized their media consumption. Accordingly, their perceptions of Korea/Asia/U.S.’s places in the world are complicated and their ethnic identity has become significant. Their global imaginations also intersect with negotiating gender roles, perceiving attractiveness, and planning future paths. This shift contributes to construction of the in-between identities of Korean Americans by denaturalizing ideas and cultural elements in both Korea and the U.S. Most distinctively, the rise of the Korean Wave stimulates global imagination among young second generation Korean Americans to aspire to and operate their agency in a transnational context that their parents’ generation barely anticipated. Finally, the upsurge of the Korean Wave drives Korean Americans to participate in transforming localities rooted in thickened connectivities and activities centering on Korean popular culture across intra/inter-ethnic groups locally and globally. This conversely facilitates intense engagement and belonging in the local spaces of community among Korean Americans. My study shows how transnational media flow under conditions of globalization positively influences immigrants to embrace their own ethnic identities and local spaces. On the other hand, it implies that there should be further examination of different boundaries of global imagination rooted in gender/class differences as well as race/ethnicity. / Media & Communication

台灣與韓國過去曾多年在經濟產業與運動競賽交手，也因雙方在各層面的競合關係，導致大多數的台灣民眾對韓國觀感較差，然而此一情況在近二十年來因為韓國流行文化「韓流」進入台灣以後有所改變。 在台灣，韓流帶來的熱潮無所不在，從網上論壇的討論到電視螢幕上的瘋狂播放可見一斑。然而對於大多數以女性為主的韓流迷族群，在韓流熱潮中卻被媒體描述為瘋狂、失去理智的受害者，在日常生活中也必須面對來自他者的敵意。為進一步探討此一現象，本研究將著眼於研究女性韓流迷在日常生活中面對反韓情緒的經驗，了解她們的應對策略。 透過與12位女性韓流迷訪談，本研究發現：首先，即使女性韓流迷透過參與、消費韓流文化學習到相當可觀與韓國有關的知識，但卻難以將此一知識與反韓他者分享；再者，即便雙方並無直接交戰或其他歷史上敵對的背景，台灣的反韓情緒主要來自於媒體不斷操作的結果，形成代代相傳的集體意識；最後，對於反韓群眾而言，反韓情緒就像是一種「微型國族主義」，即使雙方無真正交戰敵對關係，卻能供給台灣反韓群眾抒發與韓國競爭所帶來的焦慮一處出口。 / Taiwan and South Korea have a long-time history competing with each other in sports and industries. Due to these competitions, most Taiwanese people dislike South Korea. However, in the two recent decades, the Korean Wave has gradually become globally recognized and has won a place in the Taiwanese market. In Taiwan, the hype of the Korean Wave can be seen from music programs on TV to the discussion forums on the Internet. Korean Wave fans, most of whom are female, have been portrayed in a maniacal and negative way in the meddled coverage by Taiwanese media. These fans not only need to endure discrimination by the media, but also in their daily interactions with other people who hold anti-Korean attitudes. This study intends to discuss how Korean Wave fans confront anti-Korean attitudes in their daily experiences. Through the interviews of twelve female fans, the study has found, first, that even though these fans learned valuable knowledge about South Korea during their participation in the Korean Wave, that great amount of knowledge is difficult to share or persuade the anti-Korean people who confront them. Second, the nationalistic antagonism towards South Korea has surged in Taiwan for decades, yet, there is no specific historic reason for Taiwanese people to be hostile towards South Korea. Under this circumstance, the nationalistic antagonism toward South Korea in Taiwan still existed as a kind of collective memory from generation to generation thanks to the news media. For those anti-Korean Taiwanese, the nationalistic antagonism may serve as a kind of petty nationalism that expresses their anxiety in facing and competing with South Korea.

韓國流行音樂（K-Pop）逐漸在世界各地展露頭角，在台灣更使得哈日風潮逐漸被取代，成為最暢銷的外語專輯。本研究欲探討韓國流行音樂如何進軍以台灣為首的大中華市場，希望藉由Super Junior的例子，找出K-Pop成功行銷的秘訣。 經研究發現，不論是S.M.或是avex taiwan的規劃，種種努力皆是以「華語歌手、藝人」的角度來生產「在地偶像」，希望減少觀眾對Super Junior所代表「韓國」的印象，進而在華語流行音樂市場中創立新偶像。 / Korean Pop Music (K-Pop) gradually gained popularity around the world and became the most popular foreign pop music genre in Taiwan in 2009, replacing the long dominating Japanese Pop Music. The purpose of this study is to investigate how K-Pop entered the Greater China market by looking at the marketing strategy of Super Junior in Taiwan. The major finding of this dissertation is that all of S.M. and avex taiwan’s efforts were directed to making Super Junior a “local idol” in Taiwan. In other words, they wanted Super Junior to be a Chinese pop music star. These two companies tried to reduce the Korean impressions on Super Junior, and tried to create a new idol group in the Chinese pop music market.

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]