The Korean Wave has especially experienced a significant change with the development of digital technologies and social media, such as YouTube, social network sites , and smartphones in the 21st century. These digital technologies, as new driving engines of the Korean Wave, have initiated and supported the popularity of local culture in many countries.
According to the article that I've read entitled, "The New Korean Wave in the Creative Industry" by Dal Yong Jin of quod.lib.umich.edu tells that, the development of the Hallyu phenomenon has been closely related to the cultural policies in the realm of cultural/creative industries, because the major characteristics and genres have changed based on different cultural policies. The notion of the cultural industries originally started in the 19th century when the commercialization of cultural production began in societies. The cultural industries were later very much bound up with the rise of mass culture—a phenomenon that troubled many 20th-century intellectuals. Yong Jin also stated that, "Reacting against what they saw as the misleadingly democratic connotations of the term mass culture, Theodor Adorno and Max Horkheimer developed the idea of the culture industries as part of their critique of the false legacies of the Enlightenment, where the term was intended to draw critical attention to the commodification of art. In their view, culture had almost entirely lost this capacity to act as utopian critique because it had become commodified, a thing to be bought and sold."
Online gaming and K-Pop have become the two most significant cultural genres in the Korean creative industries and have initiated the growth of Hallyu (Korean wave) since late 2007, because K-Pop fans and online game users heavily access these social media to enjoy local popular culture. Hallyu is the combination of social media, their practices, and the uses and affordances they provide, and this new stage has been made possible because Korea has advanced its digital technologies.
Korean pop culture has now become a cultural phenomenon reaching far beyond the boundaries of East Asia. The seemingly unstoppable path of the Korean Wave has left Koreans with mixed feelings of pride and incredulity at the same time. What is certain is that the Korean Wave has ceased to be a teen subculture and has gained momentum with people of all ages from around the world.
Super Junior is but one example of South Korean cultural exports, including popular music (called "K-pop") as well as television dramas, movies and video games, that have become wildly popular among young people across Asia.
According to the another article that I've read entitled, "Korean Wave of pop culture sweeps across Asia" by Lara Farrar of edition.cnn.com tells that, South Korea, has become the Hollywood of the East, churning out entertainment that is coveted by millions of fans from Japan to Indonesia. Culture also plays a role. Korean content, especially dramas, is as, if not more, popular than Western series. Lara also stated that, "So based upon that cultural background, we exchange our emotions, what we think and what we feel. There is a low cultural barrier to crossover with our content. It is kind of a syndrome. Asian people love to enjoy Korean stuff."
K-pop already brings in producers, choreographers, and composers from many countries—it is already a cultural hybrid from its inception. Global, it turns out to be, is merely another word for hybrid. Against this backdrop it would be useful to view the Korean Wave as a phenomenon in which one local culture acts as the common meeting point for a variety of other cultures, transcending both similarities and differences.
According to the article that I've read entitled, "The New Korean Wave in the Creative Industry" by Dal Yong Jin of quod.lib.umich.edu tells that, the development of the Hallyu phenomenon has been closely related to the cultural policies in the realm of cultural/creative industries, because the major characteristics and genres have changed based on different cultural policies. The notion of the cultural industries originally started in the 19th century when the commercialization of cultural production began in societies. The cultural industries were later very much bound up with the rise of mass culture—a phenomenon that troubled many 20th-century intellectuals. Yong Jin also stated that, "Reacting against what they saw as the misleadingly democratic connotations of the term mass culture, Theodor Adorno and Max Horkheimer developed the idea of the culture industries as part of their critique of the false legacies of the Enlightenment, where the term was intended to draw critical attention to the commodification of art. In their view, culture had almost entirely lost this capacity to act as utopian critique because it had become commodified, a thing to be bought and sold."
Online gaming and K-Pop have become the two most significant cultural genres in the Korean creative industries and have initiated the growth of Hallyu (Korean wave) since late 2007, because K-Pop fans and online game users heavily access these social media to enjoy local popular culture. Hallyu is the combination of social media, their practices, and the uses and affordances they provide, and this new stage has been made possible because Korea has advanced its digital technologies.
Korean pop culture has now become a cultural phenomenon reaching far beyond the boundaries of East Asia. The seemingly unstoppable path of the Korean Wave has left Koreans with mixed feelings of pride and incredulity at the same time. What is certain is that the Korean Wave has ceased to be a teen subculture and has gained momentum with people of all ages from around the world.
Super Junior is but one example of South Korean cultural exports, including popular music (called "K-pop") as well as television dramas, movies and video games, that have become wildly popular among young people across Asia. According to the another article that I've read entitled, "Korean Wave of pop culture sweeps across Asia" by Lara Farrar of edition.cnn.com tells that, South Korea, has become the Hollywood of the East, churning out entertainment that is coveted by millions of fans from Japan to Indonesia. Culture also plays a role. Korean content, especially dramas, is as, if not more, popular than Western series. Lara also stated that, "So based upon that cultural background, we exchange our emotions, what we think and what we feel. There is a low cultural barrier to crossover with our content. It is kind of a syndrome. Asian people love to enjoy Korean stuff."
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