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OSU ENGLISH 1110.01 - Major Project 2 English

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I would like to preface my Major Project 2 by clarifying that this paper deviates from the initial topic of interest in Major project 1 as piano music by Chopin had been the initial theme. I realized there was more intrigue with contemporary music styles, and I will further discuss topics related to Korean music. Article:An Analysis of the Korean Wave as Transnational Popular Culture: North American Youth Engage Through social media as TV Becomes Obsolete.In this article, Dal discusses the consumption of Korean pop culture in North America, as catalyzed by social media. Dal Yong Jin is a South Korean born media studies scholar teaching and researching at Simon Fraser University, Vancouver. As part of his research, he conducted several in depth interviews with K-pop fans in North America to analyze recent developments characterizing the Korean Wave (growing K-pop fandom). His research argues that the transnational cultural phenomenon in Korean popculture, Hallyu, is greatly attributed to the growing landscape of social media and the changing media consumption in North America. Dal elaborates that changing media technologies have broadened the scope of content delivery mediums to younger generations, as a result, propelling the global status and platform of pop culture movements such as Hallyu, in return building better national relations. This article will be critical in developing a refined understanding of how Asian pop culture is currently consumed and to what degree its global outreach is on its youth audiences. Though relatively reliable tests were conducted, the data collected was accrued selectively in a controlled demographic, and thus limits the validity of results from a global purview. However, Dal’s content on social media’s propulsion of Korean pop culture on North America’s younger generations, serves as an integral foundation to my analysis of the processes and influences of consumption. Additional research will be required to explore the impacts in other regions. Nonetheless, Dal’s regional case study provides valuable insight to transnationalism between South Korea and North America. Of my semantic worknet, I have conceived four central keywords ubiquitous in Dal’s paper. Most notable of the four, the Korean wave (hallyu in Korean) refers to the surge in Korea’s cultural enterprises, Korean pop culture, on not only a national but global scale. From Television Dramas to Korean pop music, Dal asserts that Korea’s exports of popular culture have “emerged as a true transnational cultural phenomenon”. Dal clarifies in the article the existence of two Korean waves, one across the period 1997-2000 and the other from 2000-present, this distinguishment arises from a more successfully media circulated and transnationally proliferating cultural movement from the later Korean wave. This correlates significantly to my refined topic of interest for this project as Korean music, K-pop, is the predominant source of output catalyzing this Korean wave. In close proximation to the Korean wave, popular culture (pop culture) was penned on multiple occasions throughout the paper. Pop culture refers to contemporary commercial forms of entertainment or practices made popular to the masses through social media outlets. The paper discusses pop culture as modern consumption to younger viewers. Academic Scholar, Kyong Yoon furthers Dal’s analysis by asserting that youth viewers “do not seek possession of materials, rather implied participatory processes” (Jin & Yoon, 2016). This emphasizes the social impact of Pop culture on the masses, rationalizing the rise of the Korean wave. Social media was another keyword scattered across the text, with Dal attributing the successes of Korean pop culture to their efficacious propagation to social media. Social media is an easily accessible outreach to the masses and permits the birth of new trends and appreciations, subsequently shapingwhat people perceive as being popular or the next big thing. The article accentuates this by contending the Korean wave utilized social media as a conduit to bolster their global importance, thus deriving their ascension to soft power. Bridging these keywords, the term transnational appears on several occasions elucidating the global influence of Korean pop culture. Dal specifically explores the impact transnationally to North American young viewers. Mei-Zhen Song illustrates this notion with the media explosion of “Gangnam style” by Psy, affirming that the transnational impact of Gangnam style introduced the realm of Korean pop culture to global audiences (Song, 2015). The Bibliographic Worknet entails nodes relevant to its respective semantic. For transnational, I summated Lee & Norne’s contributions as an impact on global cultural flow. Their paper, “Hallyu 2.0: The Korean Wave in the age of social media” (Lee & Norne, 2015), provides significant information to the focal paper, emphasizing on the global outreach of the Korean wave on transnational cultures. It asserts that through social media, Korean pop culture has influenced the practices of other country’s societies engraving itself within the cultural flow. Dal references this paper to distinguish the transnational impacts of the first Korean wave with the later successful Korean wave. This article is accessible in the library database as well as being available online, proving to be a relatively reliable source. Sequentially, the social media semantic is complimented by Oh & Park’s “From B2C to B2B: Selling Korean pop music in the age of new social media” (Oh & Park, 2012). In this paper they discuss the Korean wave’s transition from a Business to Consumer model to a Business-to-Business model, therefore one more social media driven. Albeit not being available in the library database or fully available online, the abstract reads an interesting notion that Korean pop culture’s market target is to business clients through social channels, rather than direct to consumers. The focal article, utilizes this by reinforcing “the industries strategically adopt social media to entice participatory culture.” YouTube propagation was the prevalent theme in Song & Jang’s “Developing the Korean Wave through encouraging the participation of YouTube users: The case of the Korean Wave youth fans in Hong Kong.”(Song & Jang, 2012). This article was also not available in the library database however was available online. Song

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