Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

Upon successful completion of this course, students will be able to:
1) critically engage in discussion of aspects of contemporary Korean culture or society;
2) implement major paradigms in the cultural industries in both written and oral assessment;
3) apply one or more of these paradigms in a study of a cultural industry in Northeast Asia;
4) evaluate aspects of contemporary Korean culture or society or the cultural industries, or both, in light of global developments;
5) relate developments in the cultural industries to changes in consumer needs.

Indicative Assessment

Class participation 10% (LOs 1, 2)
Literature reviews (x 3) 30% (LOs 1, 2, 3, 5)
Oral presentation: Final presentation 15% (LOs 2, 3, 4, 5)
Final essay 45% (LOs 2, 3, 4, 5)

The ANU uses Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. While the use of Turnitin is not mandatory, the ANU highly recommends Turnitin is used by both teaching staff and students. For additional information regarding Turnitin please visit the ANU Online website.

Workload

In general 120 mins lecture, 60 mins seminar/tutorial per week. Activity may include excursions and relevant films or similar material. Total contact 36 hours, total workload for the course is 130 hours including independent study. 

Requisite and Incompatibility

Prescribed Texts

E-brick will be available online (Wattle).

Preliminary Reading

Florence CHEE, “The Games We Play Online and Offline: Making Wang-tta in Korea,” Popular Communication 4:3 (2006): 225–39.
Youngmin CHOE, "Introduction", in Tourist Distractions: Traveling and Feeling in Transnational Hallyu Cinema (Durham, N.C.: Duke University Press, 2016).
Sejung Marina CHOI, Wei-Na LEE, and Hee-Jung KIM, Lessons from the Rich and Famous: A Cross-Cultural Comparison of Celebrity Endorsement in Advertising. Journal of Advertising, vol. 34, no. 2 (Summer 2005), pp. 85–98.
Mia CONSALVO, “Convergence and Globalization in the Japanese Videogame Industry,” Cinema Journal 48:3 (Spring 2009): 135–41.
Koichi IWABUCHI, “How ‘Japanese’ is Poke´mon?" In Pikachu’s Global Adventure: The Rise and Fall of Poke´mon, ed. by Joseph Jay Tobin (Duke University Press, 2004), pp. 53– 79.
Dal Yong JIN, "New Perspectives on the Creative Industries in the Hallyu 2.0 Era: Global-Local Dialectics in Intellectual Properties." In Hallyu 2.0: The Korean Wave in the Age of Social Media, ed. by Lee Sangjoon and Nornes Abé Mark (Ann Arbor: University of Michigan Press, 2015), 53-70. 
Hee-Eun LEE, “Seeking 'others' within us: Discourses of Korean-ness in Korean Popular Music.” In Medi@sia: Global Media/tion In and Out of Context, ed. by Todd Joseph Miles Holden and Timothy J. Scrase (New York: Routledge, 2006), pp. 128–46.
Roald MALIANGKAY, “Defining Qualities: The Socio-political Significance of K-pop Collections,” Korean Histories 4:1 (2013): 3–14.
Roald MALIANGKAY, “Embedding Nostalgia: The Political Appropriation of Foreign Comic Book Superheroes in Korea,” Situations: Cultural Studies in the Asian Context 8:2 (Winter 2015): 49–65.
Youjeong OH, "The Interactive Nature of Korean TV Dramas: Flexible Texts, Discursive Consumption, and Social Media." In Hallyu 2.0: The Korean Wave in the Age of Social Media, ed. by Lee Sangjoon and Nornes Abé Mark (Ann Arbor: University of Michigan Press, 2015), pp. 133-53. 
Sarah THORNTON, “The Distinctions of Cultures Without Distinction,” Chapter 1 in her Club Cultures: Music, Media and Subcultural Capital (Cambridge: Polity Press, 1995), pp. 1–25.

Assumed Knowledge

Students enrolling in this course should have completed a 1st year course in humanities or social sciences and should have basic familiarity with library research and academic writing.Basic familiarity with Asian history and/or politics is an advantage.

Offerings, Dates and Class Summary Links