This book offers an in-depth study of the globalization of contemporary South Korean idol pop music, or K-Pop, visiting K-Pop and its multiple intersections with political, economic, and cultural formations and transformations. It provides detailed insights into the transformative process in and around the field of Korean pop music since the 1990s, which paved the way for the r...
This book offers an in-depth study of the globalization of contemporary South Korean idol pop music, or K-Pop, visiting K-Pop and its multiple intersections with political, economic, and cultural formations and transformations. It provides detailed insights into the transformative process in and around the field of Korean pop music since the 1990s, which paved the way for the recent international rise of K-Pop and the Korean Wave. Fuhr examines the conditions and effects of transnational flows, asymmetrical power relations, and the role of the imaginary "other" in K-Pop production and consumption, relating them to the specific aesthetic dimensions and material conditions of K-Pop stars, songs, and videos. Further, the book reveals how K-Pop is deployed for strategies of national identity construction in connection with Korean cultural politics, with transnational music production circuits, and with the transnational mobility of immigrant pop idols. The volume argues that K-Pop is a highly productive cultural arena in which South Korea’s globalizing and nationalizing forces and imaginations coincide, intermingle, and counteract with each other and in which the tension between both of these poles is played out musically, visually, and discursively. This book examines a vibrant example of contemporary popular music from the non-Anglophone world and provides deeper insight into the structure of popular music and the dynamics of cultural globalization through a combined set of ethnographic, musicological, and cultural analysis. Widening the regional scope of Western-dominated popular music studies and enhancing new areas of ethnomusicology, anthropology, and cultural studies, this book will also be of interest to those studying East Asian popular culture, music globalization, and popular music.
作者简介
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Michael Fuhr is Assistant Professor at University of Hildesheim, Center for World Music - Ethnomusicology, Germany.
亚洲音乐节是韩国文化产业交流财团的重点项目，是该机构自2004年以来组织并主办的年度流行音乐活动，出席嘉宾有来自亚洲各国的流行音乐上榜艺人。如，2008年，音乐节演唱会由首尔市政府联合主办，在首尔世界杯体育场举行，口号是"亚洲一家"(Asia is one)。来自12个亚洲国家和地区的23个偶像组合和大约5万名观众到场。音乐节在亚洲30多个国家播出，并通过韩国广播网络SBS在芬兰、罗马尼亚和保加利亚播出。如此巨大的媒体曝光率及超过150万美元的财政预算，使得亚洲音乐节作为大型音乐活动，不仅吸引了国际流行音乐爱好者，而且还成为韩国国家景观，其叙事既不依靠堂而皇之的民族主义性象征手法，也不依靠化遗产意象（除了一个韩国传统打击乐合奏作为常规节目的辅助表演），而是借助偶像明星的时尚华丽外表、精心的舞蹈表演和令人上瘾的流行舞曲。韩国政府举办大型国际偶像明星节这一纯粹事实，已明确表明韩国成为亚洲不断发展的文化强国和旅游热门国家的全新自我表达，意味着与早期只强调古代皇家遗址、民俗艺术和传统音乐（国乐）风格的旅游自我表达的形式相比的显著变化。 (查看原文)
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1 有用 N 2017-08-11 03:23:55
781.58 FUH “Deterritorialisation is central to the K-Pop phenomenon."
0 有用 张八折 2023-04-05 05:05:55 美国
写得特别杂的一本书 不够好
0 有用 Eno 2024-09-12 16:29:22 安徽
史实安排详尽，引用前人太多，没有自己论断，行文风格像国内高中生写字论文，都是排列堆砌。不过还是有点内容的，就是理论实在太薄
1 有用 豆友qpb4gRTsB8 2023-04-14 16:19:19 广东
作者的博士论文延伸而来的一本书，结构很清晰，对于研究论文的写作结构有不错的参考性，内容方面从不同的方面展示了k-pop进入全球化，以及全球化背景下k-pop发展的的脉络。