By John Nguyet Erni, Siew Keng Chua
This groundbreaking choice of unique essays offers new views in Asian media experiences. the amount covers a various diversity of subject matters from media coverage to globalization, utilizing energetic examples from a variety of international locations and media.Content:
Chapter 1 advent: Our Asian Media experiences? (pages 1–15): John Nguyet Erni and Siew Keng Chua
Chapter 2 Discrepant Intimacy: pop culture Flows in East Asia (pages 19–36): Koichi Iwabuchi
Chapter three Hook' em younger: McAdvertising and youngsters in Singapore (pages 37–54): Siew Keng Chua and Afshan Junaid
Chapter four Techno?Orientalization: The Asian VCD event (pages 55–71): Kelly Hu
Chapter five The fight for Press Freedom and Emergence of “Unelected” Media energy in South Korea (pages 75–90): Myung?Koo Kang
Chapter 6 “Forward?Looking” News?: Singapore's information five and the Marginalization of the Dissenting Voice (pages 91–115): Sue Abel
Chapter 7 past the Fragments: Reflecting on “Communicational”Cultural reviews in South Korea (pages 116–135): Keehyeung Lee
Chapter eight Re?Advertising Hong Kong: Nostalgia and renowned background (pages 136–158): Eric Kit?wai Ma
Chapter nine the full global is staring at Us: track tv Audiences in India (pages 161–182): Vamsee Juluri
Chapter 10 From style indicates to Body?Sculpting ads: Figures of viewers and the Sexualization of Women/Girls (pages 183–206): Irene Fang?chih Yang
Chapter eleven recovering Malay Custom/Adat in woman Sexuality in Malaysian motion pictures (pages 207–224): Gaik Cheng Khoo
Chapter 12 The Formation of a Queer?Imagined neighborhood in Post?Martial legislation Taiwan (pages 225–252): John Nguyet Erni and Anthony Spires
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Extra resources for Asian Media Studies: Politics of Subjectivities
As Morris-Suzuki (1998: 20) argues, the new Asianism in Japan “no longer implies rejection of material wealth and economic success, but rather represents a yearning for a wealth and success which will be somehow different” (emphasis in original). , appreciating Wong Kar-wai or Leslie Cheung, not Asian film or music in general) that we can detect self-reflexive voices and the realization that Japanese must meet other Asians on equal terms. However, in such a conception, other Asian nations are still reduced to entities that are undifferentiatedly represented by urban middle-class strata, the main players of consumerism.
Because Hello Kitty don’t have mouth. (Child H). Because McDonald’s have something . . what . . Toys . . McChicken have for me. (Child I) The commodification of children’s culture sets the stage for advertising pitches that stress “the incomparable pleasure of making children happy by presenting them with toys” (Seiter, 1993). Many children associate happiness with owning or possessing a toy or simply being indulged. ” One such promotional toy at McDonald’s, called “Hello Kitty” (a Japanese animation character), resulted in a buying frenzy in Singapore in 2001.
Appreciating Wong Kar-wai or Leslie Cheung, not Asian film or music in general) that we can detect self-reflexive voices and the realization that Japanese must meet other Asians on equal terms. However, in such a conception, other Asian nations are still reduced to entities that are undifferentiatedly represented by urban middle-class strata, the main players of consumerism. Moreover, the demarcation between Hong Kong and Asia is imperative for many fans, as the latter is predominantly associated with the image of backwardness.