By Sun Jung
This e-book investigates the transcultural intake of hybrid South Korean masculinities in modern South Korean pop culture. It specializes in the japanese middle-aged woman fandom of an actor―Bae Yong-Joon (a.k.a. Yonsama)―the heart type Singaporean girl fandom of a pop-star Rain, and the Western on-line cult fandom of a movie, Oldboy.
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Extra info for Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols (TransAsia Screen Cultures Series)
He's] clever, humble, well mannered, looks after others, based, and has a robust will. We used to have that sort of guy in Japan. yet now it’s challenging to discover that sort of personality [virtue] from younger eastern males. (Tan, sixty four, questionnaire respondent) Today’s eastern male actors? Oh no! they're impolite, too shallow, and vulgar. We can’t even examine them with him [BYJ]. (Ma, sixty four, concentration team interviewee) in response to Tan, such values as humility, compassion, splendor, and politeness can not often be present in modern Japan. Ma additionally feedback that eastern younger males are impolite and can't be in comparison with the well mannered BYJ. those fanatics see the misplaced virtues of Japan’s previous in BYJ’s well mannered snapshot. during this experience, BYJ’s physique is a retrospective web site. Likewise, BYJ’s smooth masculine photograph as signified via his well mannered physique grew to become an item of jap lady enthusiasts’ retrospective wish. As is clear within the above comments via Tan and Ma, BYJ’s smooth masculinity turns into the location of Japan’s imagined previous; even if, this tender masculinity isn't really conceived as “an equivalent interlocutor yet marked by way of a frozen, immutable temporal lag” (Iwabuchi 2002b: 552). NHK manufacturer Kuroiwa defined this as follows: just one month after (the drama iciness Sonata has been aired) we acquired many lengthy letters from the viewers. “Oh … I had a similar adventure whilst i used to be younger ... ” they keep in mind the stories in their old flame and very desired to exhibit themselves ... whilst Bae Yong-Joon visited Japan, he acted so gentlemanly and in a well mannered way. We used to have such males in Japan yet now not any longer. They [the middle-aged jap lady lovers] rather hate the way in which the japanese younger generations behave. (personal interview) either Tan and Kuroiwa indicate that Japan “used to” have such values, and their feedback indicate that there's a temporal lag among South Korea and Japan. To jap audiences, South Korea continues to be “the previous. ” The above fees exhibit — via wanting BYJ’s well mannered physique — how jap middle-aged girl fanatics articulate Japan’s counter-coeval stare upon South Korea. BYJ’s physique has turn into the repository for the nostalgic wishes and thoughts of those middle-aged jap audience. with regards to nostalgia and the commodification of reminiscence within the glossy international, John Frow argues that “many bills of postmodernity mourn a lack of heritage and of reminiscence” (1997: 7). In Frow’s view, reminiscence isn't ancient reminiscence, yet quite a reminiscence that's made from a massive accumulation of “spectacles. ” mentioning man Debord’s The Society of the Spectacle, Frow states: In Debord’s research the “present age” is outlined in additional specified phrases as a collection of social family of creation, and the “sign,” “copy” etc reappear because the classification of the “spectacle”: the fetishized kind of the commodity in a Bae Yong-Joon, tender Masculinity, and eastern fanatics sixty three procedure of illustration that is partially to be understood because the process of the mass media, together with ads and layout; partially extra in particular because the social strength of tv (which can frequently be at once substituted for the note “spectacle”); yet from time to time extra as a rule because the visible, or the kinds taken through the gaze inside of a consumer-capitalist society.