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East Asian Pop CultureAnalysing the Korean Wave$
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Beng Huat Chua and Koichi Iwabuchi

Print publication date: 2008

Print ISBN-13: 9789622098923

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622098923.001.0001

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Structure of Identification and Distancing in Watching East Asian Television Drama

Structure of Identification and Distancing in Watching East Asian Television Drama

(p.72) (p.73) 4 Structure of Identification and Distancing in Watching East Asian Television Drama
East Asian Pop Culture

Chua Beng Huat

Hong Kong University Press

This chapter aims to address the question, “How does an audience watch/read an imported cultural drama series?” It develops a comprehensive, relatively formal, conceptual framework for the analysis of pan-Asian, transnational pop culture consumption. It specifically explores the circulation and reception of media products in locations where an ethnic-Chinese population predominates, namely the People Republic of China (PRC), Hong Kong, Taiwan and Singapore. The possible emergence of a pan-East Asian “community of consumers” and its implication is also investigated. Before exploring the reception of imported drama series, one significant peculiarity of their circulation in Pop Culture China should be noted. It then deals with the question of dubbing and its effect on the audience. Regional marketing of pop cultures is now configured into their production cost. The predominantly ethnic-Chinese locations constitute a subset within East Asia and can be conceptually designated as Pop Culture China, with histories of established networks of production and consumption of Chinese language based genres of pop culture.

Keywords:   East Asian television drama, Pop Culture China, dubbing, pop culture, cultural drama series, ethnic-Chinese population, imported drama

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