Bøger i Media, Culture and Social Change in Asia serien

Written by a recognized international scholar in the China media field, this book analyzes China's creative economy and how television, animation, advertising, design, publishing and digital games are reshaping traditional understandings of culture.

Traces the emergence of the modern Chinese press from its origins in the western Christian missionary press in the late nineteenth century. This book demonstrates how missionary publications reshaped print journalism from a centuries-long monopoly by the state into a pluralized, modernizing and frequently radical public journalism.

Examines Japanese popular music, exploring its historical development, technology, business and production aspects, audiences, and language and culture. This book aims to find differences as well as similarities between the Japanese and Western pop music scenes. It shows how Japanese music has responded to Japan's relationship to the West.

Explores the inherent contradiction present in most facets of Singaporean media, cultural and political discourses, identifying the key regulatory strategies and technologies that the ruling People Action Party employs to regulate Singapore media and culture.

Challenges that Hollywood/the US creates, produces and exports, with other countries importing, and sometimes pirating 'original' American work. This book focuses on the cinema of China, Taiwan and Hong Kong, and argues that cultural ownership and copyright are not clear-cut, and that copyright is a means for cultural control.

This book explores the full range of ways in which modern Chinese values are put across in film. It examines official policies, discusses how far they have succeeded or failed, and explores alternative approaches. Overall the book enriches understanding of the ways in which soft power works in all situations including beyond China.

The book examines recent developments in Taiwan cinema, with partiuclar focus on a leading contemporary Taiwan filmmaker, Wei Te-sheng, who is responsible for such Asian blockbusters as Cape No.7, Warriors of the Rainbow: Seediq Bale and Kano. The book discusses key issues, including: why (until about 2008) Ta

This book explores how political, economic, social, cultural and technological forces are (re)shaping the meanings of love and intimacy in China's public culture. The book provides deep insights into how the huge transformation of China over the last four decades has impacted the micro lives of ordinary Chinese people.

This book examines how in South Asia popular music videos, activist political clips, movies and documentaries about, by and for indigenous communities take on radically new significances. Drawing on perspectivesfrom media studies and visual anthropology, this book compares and contrasts the situation in South Asia with indigeneity globally.

Islam is a religion but there are also popular cultures of Islam that are mass mediated, commercialized, pleasure-filled, humorous, and representative of large segments of society. This book illuminates how Muslims (and non-Muslims) in Indonesia and Malaysia make sense of their lives within an increasingly pervasive, popular culture of Islamic images, texts, film, songs, and narratives.

Over recent decades South Koreäs vibrant and distinctive populist culture has spread extensively throughout the world. This book explores how this has also made an impact in North Korea. Overall, the book demonstrates that the soft power of the Korean wave is having an undermining impact on the hard, constraining cultural climate of North Korea.

This book outlines and discusses the very wide range of cinema which is to be found in Singapore. Although Singapore cinema is a relatively small industry, and relatively new, it has nevertheless made an impact, and continues to develop in interesting ways. The book shows that although Singapore cinema is often seen as part of diasporic Chinese cinema, it is in fact much more than this, with strong connections to Malay cinema and the cinemas of other Southeast Asian nations. Moreover, the themes and subjects covered by Singapore cinema are very wide, ranging from conformity to the regime and SingaporeΓÇÖs national outlook, with undesirable subjects overlooked or erased, to the sympathetic depiction of minorities and an outlook which is at odds with the official outlook. The book will be useful to readers coming new to the subject and wanting a concise overview, while at the same time the book puts forward many new research findings and much new thinking.

Economic development in Asia is associated with expanding urbanism, overconsumption, and a steep growth in living standards. At the same time, rapid urbanisation, changing class consciousness, and a new ruralΓÇôurban divide in the region have led to fundamental shifts in the way ecological concerns are articulated politically and culturally. Moreover, these changes are often viewed through a Western moralistic lens, which at the same time applauds AsiaΓÇÖs economic growth as the welcome reviver of a floundering world economy and simultaneously condemns this growth as encouraging hyperconsumerism and a rupture with more natural ways of living. This book presents an analysis of a range of practices and activities from across Asia that demonstrate that people in Asia are alert to ecological concerns, that they are taking action to implement new styles of green living, and that Asia offers interesting alternatives to narrow Anglo-American models of sustainable living. Subjects explored include eco-tourism in the Philippines, green co-operatives in Korea, the importance of "tradition" within Asian discourses of sustainability, and much more.

The rise of China has brought about both an increase in the number of and a change in the demographic characteristics of Chinese-language-speaking migrants. At the same time the Chinese government has implemented a stronger "going global" policy, pushing for the internationalisation of Chinese media and culture. This book explores the nature of Chinese communities and their relationship to the media in a range of countries worldwide. Overall, the book demonstrates that despite Chinäs assertive "going global" media push, diasporic Chinese communities are being further decentralised and refashioned in multiple and sometimes contradictory ways.

This book explores the vigorous film cultures of mainland China, Taiwan and Hong Kong from the perspective of youth culture. The book relates this important topic to the wider social, cultural, and institutional context, and discusses the relationship between the films and the changes that today are transforming each society. Among the areas explored are the differences between the three film industries, their creation of new types of screen hero and heroine, and their conflicts with traditional Chinese attitudes such as respect for age. The many films discussed provide fresh perspectives on the ways in which young people are coping with gender, sexuality, class, coming of age, the pressures of education, and major social shifts such as rural to urban migration. They show young adults in each society striving to construct new value systems for a complex, rapidly changing environment.

This book presents an analysis of television histories across India, China, Taiwan, Singapore, Indonesia, Japan, Hong Kong, the Philippines, Malaysia and Bhutan. It offers a set of standard data on the history of television's cultural, industrial and political structures in each specific national context, allowing for cross-regional comparative analysis.

The Chinese internet is driving change across all facets of social life, and scholars have grown mindful that online and offline spaces have become interdependent and inseparable dimensions of social, political, economic, and cultural activity. This book showcases the richness and diversity of Chinese cyberspaces, conceptualizing online and offline China as separate but inter-connected spaces in which a wide array of people and groups act and interact. The book argues that online spaces allow their users greater "freedoms" despite ubiquitous control and surveillance by the state authorities. The book is a sequel to the editors' earlier work, Online Society in China (Routledge, 2011).

This book examines the transformations in form, genre, and content of contemporary Chinese print media. It describes and analyses the role of post-reform social stratification in the media, focusing particularly on how the changing practices and institutions of the industry correspond to and accelerate the emergence of a relatively affluent urban leisure-reading market.

Across Asia, consumer culture is increasingly shaping everyday life, with neoliberal economic and social policies increasingly adopted by governments who see their citizens as individualised consumers. This book explores how far everyday conceptions and experiences of identity are being transformed by media cultures across the region. It considers a range of media in different Asian contexts, contrasting how the shaping of lifestyles in Asia differs from similar processes in Western countries, and assessing how the new lifestyle media represents not just a new emergent media culture, but also illustrates wider cultural and social changes in the Asian region.

This book explores the full range of ways in which modern Chinese values are put across in film. It examines official policies, discusses how far they have succeeded or failed, and explores alternative approaches. Overall the book enriches understanding of the ways in which soft power works in all situations including beyond China.

This book outlines and discusses the very wide range of cinema which is to be found in Singapore. Although Singapore cinema is a relatively small industry, and relatively new, it has nevertheless made an impact, and continues to develop in interesting ways. The book shows that although Singapore cinema is often seen as part of diasporic Chinese cinema, it is in fact much more than this, with strong connections to Malay cinema and the cinemas of other Southeast Asian nations. Moreover, the themes and subjects covered by Singapore cinema are very wide, ranging from conformity to the regime and SingaporeΓÇÖs national outlook, with undesirable subjects overlooked or erased, to the sympathetic depiction of minorities and an outlook which is at odds with the official outlook. The book will be useful to readers coming new to the subject and wanting a concise overview, while at the same time the book puts forward many new research findings and much new thinking.

This book explores the vigorous film cultures of mainland China, Taiwan and Hong Kong from the perspective of youth culture. The book relates this important topic to the wider social, cultural, and institutional context, and discusses the relationship between the films and the changes that today are transforming each society. Among the areas explored are the differences between the three film industries, their creation of new types of screen hero and heroine, and their conflicts with traditional Chinese attitudes such as respect for age. The many films discussed provide fresh perspectives on the ways in which young people are coping with gender, sexuality, class, coming of age, the pressures of education, and major social shifts such as rural to urban migration. They show young adults in each society striving to construct new value systems for a complex, rapidly changing environment.

The book examines recent developments in Taiwan cinema, with partiuclar focus on a leading contemporary Taiwan filmmaker, Wei Te-sheng, who is responsible for such Asian blockbusters as Cape No.7, Warriors of the Rainbow: Seediq Bale and Kano. The book discusses key issues, including: why (until about 2008) Taiwan cinema underwent a decline, and how cinema is portraying current social changes in Taiwan, including changing youth culture and how it represents indigenous people in the historical narrative of Taiwan. The book also explores the reasons why current Taiwan cinema is receiving a much less enthusiastic response globally compared to its reception in previous decades.