Chua Beng Huat
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9789622098923
- eISBN:
- 9789882206885
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098923.003.0005
- Subject:
- Society and Culture, Media Studies
This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis ...
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This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis of pan-Asian, transnational pop culture consumption. It specifically explores the circulation and reception of media products in locations where an ethnic-Chinese population predominates, namely the People Republic of China (PRC), Hong Kong, Taiwan and Singapore. The possible emergence of a pan-East Asian “community of consumers” and its implication is also investigated. Before exploring the reception of imported drama series, one significant peculiarity of their circulation in Pop Culture China should be noted. It then deals with the question of dubbing and its effect on the audience. Regional marketing of pop cultures is now configured into their production cost. The predominantly ethnic-Chinese locations constitute a subset within East Asia and can be conceptually designated as Pop Culture China, with histories of established networks of production and consumption of Chinese language based genres of pop culture.Less
This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis of pan-Asian, transnational pop culture consumption. It specifically explores the circulation and reception of media products in locations where an ethnic-Chinese population predominates, namely the People Republic of China (PRC), Hong Kong, Taiwan and Singapore. The possible emergence of a pan-East Asian “community of consumers” and its implication is also investigated. Before exploring the reception of imported drama series, one significant peculiarity of their circulation in Pop Culture China should be noted. It then deals with the question of dubbing and its effect on the audience. Regional marketing of pop cultures is now configured into their production cost. The predominantly ethnic-Chinese locations constitute a subset within East Asia and can be conceptually designated as Pop Culture China, with histories of established networks of production and consumption of Chinese language based genres of pop culture.
Beng Huat Chua
- Published in print:
- 2012
- Published Online:
- September 2017
- ISBN:
- 9789888139033
- eISBN:
- 9789882209121
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139033.001.0001
- Subject:
- Society and Culture, Asian Studies
The emergence of East Asian Pop Culture as an integrated regional media cultural economy is a result of the penetration of Japanese and Korean pop cultures into the historically well established ...
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The emergence of East Asian Pop Culture as an integrated regional media cultural economy is a result of the penetration of Japanese and Korean pop cultures into the historically well established distribution and exhibition networks of Chinese languages pop culture in locations where ethnic-Chinese constitutes the majority population; namely, Taiwan, Hong Kong, the People’s Republic of China and Singapore. Regionalization has produced transnational and transcultural audience communities of different scale in different reception locations, from those looking merely to be entertained to conventional fan clubs to sub-fan community who translates and subtitles foreign programs for free distribution on the Internet, bypassing state censorship and circuits of profit for the producers. In regional political economy, pop culture has become both a vehicle of transnational collaboration for co-production and market expansion and an instrument of competition in soft power diplomacy, which aims to produce positive sentiments towards the exporting nation among the target audiences. The exporting nation’s achievement in engendering such positive influence is limited by the fragmented nature of the audiences who respond differently to the same products; by backlash from local mobilization against ‘foreign cultural invasion’ in ‘defence’ of the national culture, among the non-consumers in the target location and, finally, by the government of the PRC, the largest consuming country, to control the flow of import, restrict exhibition time and encourage co-production which enables it to shape the content of the co-produced programs.Less
The emergence of East Asian Pop Culture as an integrated regional media cultural economy is a result of the penetration of Japanese and Korean pop cultures into the historically well established distribution and exhibition networks of Chinese languages pop culture in locations where ethnic-Chinese constitutes the majority population; namely, Taiwan, Hong Kong, the People’s Republic of China and Singapore. Regionalization has produced transnational and transcultural audience communities of different scale in different reception locations, from those looking merely to be entertained to conventional fan clubs to sub-fan community who translates and subtitles foreign programs for free distribution on the Internet, bypassing state censorship and circuits of profit for the producers. In regional political economy, pop culture has become both a vehicle of transnational collaboration for co-production and market expansion and an instrument of competition in soft power diplomacy, which aims to produce positive sentiments towards the exporting nation among the target audiences. The exporting nation’s achievement in engendering such positive influence is limited by the fragmented nature of the audiences who respond differently to the same products; by backlash from local mobilization against ‘foreign cultural invasion’ in ‘defence’ of the national culture, among the non-consumers in the target location and, finally, by the government of the PRC, the largest consuming country, to control the flow of import, restrict exhibition time and encourage co-production which enables it to shape the content of the co-produced programs.
