代寫INTS307 Global Circulation of Asian Popular Culture
代寫INTS307 Global Circulation of Asian Popular Culture
Faculty of Arts
Department of International Studies
Global Circulation of Asian Popular Culture
3 Credit points
Semester 2, 2016
ABOUT THIS UNIT
This unit explores Asian popular cultures in a global and cross-cultural context. It looks at notions of change, intertextuality and glocalisation within the context of diverse cultural encounters in the region and beyond. The specific focus is on popular cultures in countries which have developed popular culture as an export industry or as an aspect of ‘soft power.’ LEARNING OUTCOMES
All academic programmes at Macquarie seek to develop graduate capabilities. These are:
1.Discipline-specific knowledge and skills;
2.Critical, analytical and integrative thinking;
3.Problem-solving and research capability
4.Creative and innovative;
6.Engaged and ethical local and global citizens;
7.Socially and environmentally active and responsible;
8.Capable of professional and personal judgement and initiative;
9.Commitment to continuous learning.
Note: The numbers listed at the end of each Learning Outcome indicate how it is aligned with the Graduate Capabilities.
The learning outcomes of this unit are (link to graduate capabilities in brackets):
1.Develop understanding of a wide range of Asian popular culture texts, theintercultural communication process and how specific popular culture textsbecome glocalised and diversified through continuous negotiation with hostcultures (1, 2);
2.Generate informed and original analysis of Asian popular culture in a globalcontext and informed manner in oral and written form (1, 2, 3, 5);
3.Develop an enhanced sense of global citizenship and social responsibility byincreasing awareness of the processes of cultural interchange (6, 7, 8, 9);
4.Demonstrate initiative and competence in research, including locating relevantmaterials and writing in an efficient and timely manner with correct referencing(1, 2, 3, 4); and
5.Build interpersonal communication skills through in-class discussions (1, 5). UNIT REQUIREMENTS AND EXPECTATIONS
This unit covers a broad range of topics so students should be prepared to read extensively and think laterally – not simply meet the assessment requirements. Class attendance and participation are essential; tutorial presentations equip students with communication/presentation skills; and the essay requires a critical engagement with current cultural issues and our responsibilities as educated people and as members of local and global societies. 2
Attendance at classes is compulsory, and is a prerequisite for both fulfilling the requirements of the unit and for earning the participation mark. Non-attendance at classes will reduce your opportunity for learning and probably result in a limited grasp of the unit’s aims and subject matter. Students who are absent from four or more classes without proper documentation, e.g. medical certificates, may be excluded from the unit. Assessment tasks
University regulations stipulate that a student must attempt all assessment components to be eligible to pass a unit of study. In INTS307 this means that all three tasks should be fulfilled in order to complete requirements of the unit and be eligible for a passing grade.
Assessment tasks at a glancs
Select one pair of readings from the two sets of articles specified, and produce a 2000- word critical review. The review should be a discussion and assessment of how experts have approached an issue: it will have an introduction, body and conclusion, well-formed paragraphs, and a logical structure. Compare and contrast the works you are discussing, showing their strengths and weaknesses, their methodologies, and what contribution they make to your understanding of the topic. For your literature review do not select the same topic as for your tutorial presentation or essay. Articles for the review relate to Sport/Exercise and Tourism. Assessment rubrics are available in a folder on the iLearn site.
Task 3: Review of Scholarly Literature
Choose one of the following pairs (the articles may be downloaded from Multisearch [enter the title of the article within quotation marks]). NB: If you write about a pair other than the prescribed two, you will automatically receive a zero mark.
Cho, Younghan, Charles Leary and Steven J. Jackson. “Glocalization and Sports in Asia.” Sociology of Sport Journal 29.4 (2012): 421-32. 4
Andrews, David L., Callie Batts and Michael Silk. “Sport, Glocalization and the New Indian Middle Class.” International Journal of Cultural Studies 17.3 (2014): 259-76.
King, Victor T. “Culture, Heritage and Tourism in Southeast Asia.” Pertanika Journal of Social Sciences and Humanities 20.1 (2012): i-vii.
Tse, Tony S. M. “Does Tourism Change Our Lives?” Asia Pacific Journal of Tourism
Research 19.9 (2014): 989-1008.
Your Literature Review should:
?be 2000 words;
?be presented in 12-pt Times New Roman or 11-pt Georgia, 1.5-spaced, 2cm margins;
?present details of the articles in the beginning so that you don’t have to give the fulltitles and/or authors’ full names repeatedly;
•avoid the use of subheadings (a coherent argument should link components of a shortreview such as this assignment)
If you’re using referencing materials in addition to the articles for review, you should
•use an approved referencing style, e.g. MLA, Chicago, Harvard, APA;
•list “Works Cited” at the end of your review. This should not be a general bibliographyor references, but contain all and only works cited within the review.
1, 2, 3, 4
Choose one of the specified essay topics and identify an appropriate primary corpus, and critically analyse how your sample texts have changed when placed in dialogue with other cultures. You may wish to consider what is culturally specific about these texts, and what has local and global significance. Your essay should not reproduce material dealt with in your tutorial presentation. Do NOT write about Japanese manga or anime, as these are comprehensively dealt with in other units.
Task 4: Essay
Write on one of the following four topics:
1.Various waves of pop music have emerged in Asia, of which “J-pop” and “K-pop” areperhaps the best known. To what extent are such phenomena local, or are they alwayscharacterised by an ostentatious internationalism?
2.Hollywood adapts and remakes Asian films as part of its insatiable search for newstories, or for new ways of telling half-familiar stories. But adaptation is also driven by perceptions of the otherness of Asian cultures from Western perspectives and apresumed preference of audiences for localised remakes rather than originals. In ananalysis of a pair of films – a source and its remake – demonstrate what constitutesthe core cultural differences between the two.
3.Cultural similarity and distance are favourably but differently perceived by audiencesin East Asia in their consumption of media texts from neighbouring countries. Afurther step – particularly evident in TV Drama series – is to produce a local remakeof such media texts. A remake can be a simple transposition from one setting toanother, or it can become an original creative work. Explore the possibility forcreative adaptation in selected scenes from a drama series that originated in onecountry and has been remade in another (or in some cases two or three others).
[Please ensure that your chosen examples are available with English subtitles, andgive full details of your sources.]
4.There is a rich tradition of folktales that circulated in the Asian region before theimportation of the Western fairytales of the Grimms or H. C. Andersen and whichcontinue to circulate. Such stories take on local forms and are widely drawn upon infilm, TV drama and various forms of popular culture, but are also recognised whencultural products circulate in other countries. Explore how one or two of the followingfolktales (or folk motifs) have been used in popular culture, e.g., “The Weaver Girl and the Cowherd,” “The Nine-tailed Fox,” “The Tale of the Bamboo Cutter” and “Earth-bound spirits that do not know they are dead.”
Your essay should:
•be 3000 words;
?be presented in 12-pt font, 1.5-spaced, 2cm margins;
•use an approved referencing style, e.g. MLA, Chicago, Harvard, APA;
•be fully referenced with at least five relevant academic references (books, bookchapters or journal articles) (You can locate scholarly (peer-reviewed) articles byusing the library databases such as Project Muse or Academic Advanced Premier. Youcan find these by using the Library's Multi Search: >Databases>Project Muse, e.g. You can also put a key word into Multi Search under books and articles, but you need to be precise in your choice of term, or you’ll get hundreds of irrelevant references. You may include graphics and website materials, but they will not be counted as academicreferences);
?list “Works Cited” at the end of your essay. This should not be a generalbibliography or references, but contain all and only works cited within the essay;
•avoid the use of subheadings (a coherent argument should link components of a shortessay such as this); and
•minimise description of content and story elements – analyse!
In the iLearn folder, you will find assessment rubrics which clearly explain what will be assessed, and how it will be assessed. Please use these rubrics for self-evaluation during the research and writing process.
Return of marked work
The marks and comments for the tutorial presentation will be sent via iLearn mail within two weeks after the presentation. The marks and comments for the Essay will be available on the iLearn site by Mon 5 Dec. The complete breakdown of the marks will be available in the Gradebook on Friday 16 Dec after
Hatayama, Hiroaki. “The Cross-Cultural Appeal of the Characters in Manga and Anime.” Chap. 14 in The Japanification of Children’s Popular Culture: From Godzilla to Miyazaki. Ed. Mark I. West, 2009, 191-98.
Hatayama suggests that American audiences consider manga and anime to be “different, complex, and funny.” What do you think makes these forms culturally specific? For example, do they tell their stories in a particular way? Use, e.g., Spirited Away as a sample text.
Ugli aur Pagli (India)
Infernal Affairs (Hong Kong) and The Departed (USA)
Chhoti Si Baat (Bollywood) and Hitch (Hollywood)
In the adaptation of Asian cinema for the American and global markets, cultural elements deemed “alien” are frequently removed. Are the adaptations inevitably impoverished by such omissions? How do such changes reflect the different political, social and ideological climates of source and adaptation?
TV Drama series, originating primarily in Japan, South Korea and Taiwan, have circulated widely throughout the region, both in original form and as local remakes/adaptations. Consider some samples of remakes from the perspective of global-local negotiation, principles of cultural proximity, and presumed audience appeal.
Weekew Isaac. “Introduction: Global Encounters in Southeast Asian Performing Arts.” Asian Theatre Journal 31.2 (2014): 353-68.
Cohen’s introductory essay is a useful account of the variety of performing arts practised across Southeast Asia, but also prompts many questions.
What is the evidence for the claim that “global is no longer a surrogate for Western neo-imperialism”?
Is the “connectedness” of the arts across Southeast Asia simply a case of circulation, or does it involve issues of ownership of intellectual/cultural property, or does it demonstrate that cultural forms do not inherently belong to particular ethnic
Tutorial Presentation 8
What are the functions of innovatory presentations of traditional forms?
What is your view of the assertion that “heritage is not an end in itself but has the object of furthering the well-being of individuals and the wider expectations of society”?
Fam, Kim-Shyan. “Attributes of Likeable Television Commercials in Asia.” Journal of Advertising Research 48.3 (2008): 418-32.
Advertising has been described as the official art of modern capitalist societies. In what ways is advertising a global and local Asian phenomenon that functions as a transcultural art form
Styles.” South Asian Popular Culture 9.2 (2011): 177-90.
The article “What can brown do for you?” seeks to inter-relate several ideas: what is its core argument? What is a desi? What do you know about this term? Do you find humour and irony an effective means to challenge racist assumptions?
What do you understand by “Indo Chic”?
What are the different ways fashion (“the sartorial arena”) are deployed? How does clothing signify?
The article describes “a consumerist economy that thrives on the production and reproduction of banal markers of difference” – so what is the function of “difference”? What are the complexities in the notion of “an Orientalist fascination with difference”?
How is the article using concepts like “the real” and “a simulacrum”?
Tan, Chee-Beng. “Cultural Reproduction, Local Invention and Globalization of Southeast Asian Chinese Food.” Chapter 1 in Chinese Food and Foodways in Southeast Asia and Beyond. Ed. Tan Chee-Beng. Singapore: NUS Press, 2011, 23-46. (Can be downloaded from Project Muse.)
Tan comments that cross-cultural interactions can produce “a local cuisine that is Chinese and yet localized”: a great variety of cuisines – Thai, Japanese, Indian, Vietnamese, Korean, etc. – circulate amongst Asian countries and beyond, to become “global food.”
Do you think this produces a problem of authenticity?
Week 10 Tutorial Presentation
governments desire economic advantage, and thus promote “heritage sites”; foreign tourists seek exotic experiences; domestic tourists seek an aspect of themselves; some tourists engage in “dark tourism.”
Does a country use tourism to express local and national identities?
Does intangible heritage better express identity than tangible heritage?
Do heritage landscapes express more than grand monuments?
Foster, Michael Dylan. “The Folkloresque Circle: Toward a Theory of Fuzzy Allusion.” In The Folkloresque: Reframing Folklore in a Popular Culture World, Eds. M. D. Foster and J. A. Tolbert. Boulder: University Press of Colorado, 2015, 41-63.
(Can be downloaded from Project Muse.)
What do you see as the relationship between folklore and popular culture? Foster cites a common set of descriptors used to discuss the relationship between texts and pre-texts: (1) version or adaptation, (2) precise allusion, and (3) fuzzy allusion [i.e. “script”]. Find a couple of examples and explain why they belong to which category.
In what ways are folktale and folklore elements of cultural capital? Do they need to be in some sense “authentic” to have this value?
How does the principle of defamiliarisation work?
If a narrative pattern is so widespread, and “so open to interpretation as to be all but meaningless as a specific reference” (48), what kind of uses does it have?
What have we identified as the most prominent trends in the global circulation of Asian popular culture?
Some journals you may find useful:
Inter-Asia Cultural Studies
Journal of Southeast Asian Studies
Positions: East Asia Cultures Critique
South Asian Popular Culture
Sport in Society
Berry, Chris et al., eds. Cultural Studies and Cultural Industries in Northeast Asia: a Difference a Region Makes (TransAsia: Screen Cultures). Hong Kong: Hong Kong University Press, 2009.
Craig, Timothy J., ed. Japan Pop!: Inside the World of Japanese Popular Culture. New York: M.E. Sharpe, 2000.
Craig, Timothy J. and Richard King, eds. Global Goes Local: Popular Culture in Asia. Honolulu: University of Hawaii Press, 2002.
Huat, Chua Beng. Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong: Hong Kong University Press, HKU, 2012.
Huat, Chua Beng and Koichi Iwabuchi, eds. East Asian Pop Culture: Analysing the Korean Wave (Trans Asia: Screen Cultures). Hong Kong: Hong Kong University Press, 2008.
Martinez, Dolores. The Worlds of Japanese Popular Culture: Gender, Shifting Boundaries and Global Cultures (Contemporary Japanese Society). Cambridge: Cambridge University Press, 1998.
Russell, Mark James. Pop Goes Korea: Behind the Revolution in Movies, Music and Internet Culture. Berkeley: Stone Bridge Press, 2008.
Week 1 Glocalisation
Gutierrez, Anna Katrina. “Mga Kwento ni Lola Basyang: A Tradition of Reconfiguring the Filipino Child.” International Research in Children’s Literature 2.2 (2009): 159-76.
Leung, Yuk Ming Lisa. “Daejanggeum as 'Affective Mobilization': Lessons for (Transnational) Popular Culture and Civil Society.” Inter-Asia Cultural Studies 10.1 (2009): 51-66.
Sun, Yifeng. “Cultural Translation in the Context of Glocalization.” Ariel 40.2-3 (2009): 89-110. 12
Week 2 Music
Aska, Monty. “Micro: Global Music Made in J-pop?” Inter-Asia Cultural Studies11.1 (2010): 123-28.
Condry, Ian. “Yellow B-Boys, Black Culture, and Hip-Hop in Japan: Toward a Transnational Cultural Politics of Race.” positions: east asia cultures critique 153 (2007): 637-71.
Roberts, Martin. “‘A New Stereophonic Sound Spectacular’: Shibuya-kei as Transnational Soundscape.” Popular Music 32.1 (2013): 111-123.
Shin, Hyunjoon.“Have You Ever Seen the Rain? And Who'll Stop the Rain?: The Globalizing Project of Korean Pop (K-pop).” Inter-Asia Cultural Studies 10.4 (2009):507-23.
*Siriyuvasak, Ubonrat and Hyunjoon Shin. “Asianizing K-pop: Production, Consumptionand Identification Patterns Among Thai Youth.” Inter-Asia Cultural Studies 8.1 (2007): 109-36.
Stevens, Carolyn S. “Translations: 'Internationalizing' Language and Music.” In Japanese Popular Music: Culture, Authenticity, and Power. London: Routledge, 2007, 132-155.
Tsai, Eva and Hyunjoon Shin. “Strumming a place of one’s own: gender, independence and the East Asian pop-rock screen.” Popular Music 32.1 (2013): 7–22.
Week 3 Manga/Anime
*Hatayama, Hiroaki. “The Cross-Cultural Appeal of the Characters in Manga andAnime.” In The Japanification of Children’s Popular Culture: From Godzilla to Miyazaki, ed., Mark I. West. Lanham, Marylnad: The Scarecrow Press, 2009, 191-98.
Napier, Susan. Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. New York: PalgraveMacmillan, 2005, Chapters 1 and 2.
Allison, Anne. “Sailor Moon: Japanese Superheroes for Global Girls.” Chap.14 in Japan Pop!: Inside the World of Japanese Popular Culture, ed. Timothy J. Craig. New York: M.E. Sharpe, 2000, 259-78.
Week 4 Film
*Lim, Song Hwee. “Transnational Trajectories in Contemporary East Asian Cinemas.” InEast Asian Cinemas: Regional Flows and Global Transformations, 2011, 15-32.
Lin, Angel and Avin Tong. “Re-Imagining a Cosmopolitan ‘Asian Us’: Korean Media Flows and Imaginaries of Asian Modern Femininities” in Chua Beng Huat and Koichi Iwabuchi (eds.) East Asian Pop Culture. Hong Kong University Press, 2008: 91-126. 13
Stephen,Teo. “Promise and Perhaps Love: Pan-Asian Production and the Hong Kong-China Interrelationship.” Inter-Asia Cultural Studies 9.3 (2008): 341-58.
Week 5 TV Drama
Cho, Hae-Joang. “Reading the ‘Korean Wave’ as a Sign of Global Shift.” Korea Journal (Winter 2005): 147-82.
*Iwabuchi, Koichi. “Globalization, East Asian Media Cultures and Their Publics.” AsianJournal of Communication 20.2 (2010): 197-212.
Iwabuchi, Koichi. “Becoming Culturally Proximate: Japanese TV Dramas in Taiwan.” In Recentering Globalization: Popular Culture and Japanese Transnationalism. Duke University Press Books, 2002: 121-57.
Week 6 Performing Arts
Adams, Laura L. “Globalization, Universalism, and Cultural Form.” Comparative Studies in Society and History 50.3 (2008): 614-40.
Chong, Terence. “Chinese Opera in Singapore: Negotiating Globalisation, Consumerism and National Culture.” Journal of Southeast Asian Studies 34.3 (2003): 449-71.
*Cohen, Matthew Isaac. “Introduction: Global Encounters in Southeast AsianPerforming Arts.” Asian Theatre Journal 31.2 (2014): 353-68.
Kartomi, Margaret J. “‘Traditional Music Weeps’ and other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand.” Journal of Southeast Asian Studies 26.2 (1995): 366-400.
Mori,Yoshitaka. “Culture = Politics: The Emergence of New Cultural Forms of Protest in the Age of Freeter.” Inter-Asia Cultural Studies 6.1 (2005): 17-29.
Pausacker, Helen. “Presidents as Punakawan: Portrayal of National Leaders as Clown-Servants in Central Javanese Wayang.” Journal of Southeast Asian Studies 35.2 (2004): 213-33.
Week 7 Advertising
Ciochetto, Lynne. “Advertising in Contemporary India’s Rapidly Changing Media Environment.” Media International Australia 133 (Nov 2009): 120-29.
*Fam, Kim-Shyan. “Attributes of Likeable Television Commercials in Asia.” Journal ofAdvertising Research 48.3 (2008): 418-32.
Iwabuchi, Koichi. “Globalization, East Asian Media Cultures and Their Publics.” Asian Journal of Communication 20.2 (2010): 197-212. 14
Oyama, Shinji. “The Emergence of Pan-Asian Brands: Regional Strategies of Japanese Cosmetics Brands.” Media International Australia 133 (Nov 2009): 85-96.
Week 8 Sport/Exercise
*Giulianotti, Richard and Roland Robertson. “Glocalization and Sport in Asia: DiversePerspectives and Future Possibilities.” Sociology of Sport Journal 29.4 (2012): 433-54.
Koh, Eunha. “South Korea and the Asian Games: The First Step to the World.” Sport in Society 8.3 (2005): 468-78.
Rowe, David and Gilmour Callum. “Sport, Media, and Consumption in Asia: A Merchandised Milieu.” American Behavioral Scientist 53.10 (2010):1530-48.
Week 9 Fashion
Hong, Lifen and Paola Zamperi代寫INTS307 Global Circulation of Asian Popular Cultureni. “Making Fashion Work: Interview with Sophie Hong.” positions: east asia cultures critique 11.2 (2003): 511-20.
Huanga, Kan-Chung, Tai-Shan Hub, Jun-Yao Wangc, Kuang-Chieh Chenb and
Hsin-Mei Lob. “From Fashion Product Industries to Fashion: Upgrading Trends
in Traditional Industry in Taiwan.” European Studies 24.4 (2015): 762-87.
*Mannur, Anita and Pia K. Sahni. “‘What Can Brown Do for You?’ Indo Chic and theFashionability of South Asian Inspired Styles.” South Asian Popular Culture 9.2 (2011): 177-90.
Miller, Laura. “Mammary Mania in Japan.” positions: east asia cultures critique11.2 (2003): 271-300.
Phillips, Barbara J. and Edward F. McQuarrie. “Narrative and Persuasion in Fashion Advertising.” Journal of Consumer Research 37.3 (2010): 368-92.
Yano, Christine R. “Wink on Pink: Interpreting Japanese Cute as It Grabs the Global Headlines.” The Journal of Asian Studies 68.3 (2009): 681-88.
Week 10 Food
Carruthers, Ashley. “Cute Logics of the Multicultural and the Consumption of the Vietnamese Exotic in Japan.” positions: east asia cultures critique 12.2 (2004): 401-29.
Lozada, Eriberto P. “Globalized Childhood: Kentucky Fried Chicken in Beijing.” In Feeding China’s Little Emperors: Food, Children, and Social Change, ed. Jun Jing. Palo Alto: Stanford University Press, 2000, 114-34.
*Tan, Chee-Beng. “Cultural Reproduction, Local Invention and Globalization ofSoutheast Asian Chinese Food.” Chapter 1 in Chinese Food and Foodways in Southeast Asia and Beyond. Ed. Tan Chee-Beng. Singapore: NUS Press, 2011, 23-46. 15
Week 11 Tourism
Chowdhury, Indira. “Travelling Across Cultures: Reflections on a Visit to Beijing.” Inter-Asia Cultural Studies 7.3 (2006): 519-26.
Collins-Kreiner, Noga and Keren Tueta Sagi. “Tourism to India as Popular Culture: A Cultural, Educational and Religious Experience at Dharamsala.” South Asian Popular Culture 9.2 (2011): 131-45.
Ichitani, Tomoko. “Town of Evening Calm, Country of Cherry Blossoms: The Renarrativation of Hiroshima Memories.” Journal of Narrative Theory 40.3 (2010): 364-90.
*Larasati, R. Diyah. “Eat, Pray, Love, Mimic: Female Citizenship and Otherness.” SouthAsian Popular Culture 8.1(2010): 89-95.
代寫INTS307 Global Circulation of Asian Popular Culture