Review: Finding Values of Contemporary East Asian Music in the 21st Century

2021 ◽  
Vol 36 ◽  
pp. 83-92
Author(s):  
Seokyoung Kim
Popular Music ◽  
2013 ◽  
Vol 32 (1) ◽  
pp. 7-22 ◽  
Author(s):  
Eva Tsai ◽  
Hyunjoon Shin

AbstractThe first decade of the 21st century has seen a concurrent rise of pop-rock screen productions in Japan, South Korea and Taiwan, particularly feature films, documentaries and TV series informed by the guitar and/or band culture. This paper probes the popularisation of pop-rock in the region and asks what gender and sexual expressions have been mobilised in such productions and representations. The paper juxtaposes dominant gender tropes, such as the failing male rocker in search of rebirth (Korea), romantic youth pursuing authenticity (Japan), dazzling but also bedazzled rocker-girl on stage (Japan), indie music goddess in control of subdued femininity (Korea) and peripheral girl-with-acoustic-guitar who chronicles boys' sorrow (Taiwan). Responding to the familiar myth of rebellion in pop-rock discourses, our inter-referential analysis suggests that East Asian pop-rock screen is about the making of heterotopias rather than utopias.


Asian Survey ◽  
2007 ◽  
Vol 47 (6) ◽  
pp. 930-951 ◽  
Author(s):  
Renato Cruz De Castro

Some analysts have attributed the 1997 Asian financial crisis to the actions of interventionist developmental East Asian states that had allegedly distorted the operation of the market. This view, however, does not apply to the Philippine case, as the country has never been construed as developmental. In fact, this article argues, the Asian financial crisis created the opportunity for the revival of populism/neo-populism in 21st century Philippine politics.


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