This study examines the dynamics of cultural politics in reality television shows featuring North Korean resettlers in South Korea. As existing studies focus on the role of media representation reproducing a dominant ideology for the resettlers, this paper focuses on the specific media rituals of NKR2 programs, which can be seen as a product of the neoliberalist localization process of the global media industry. In doing so, this paper demonstrates how NKR2 programs interrupt the current dynamics of emotions in regard (...) to North Korean resettlers in South Korea. We argue that in shaping civic identity as an effect of the NKR2 show, cultural politics of citizenship in South Korea on North Korean resettlers serve the formation of relatively conservative and sexist civic identity. (shrink)

Using a lens of cultural industry approach, this study explores the rise and fall of the political entertainment with a focus on specific moments associated with the trajectory of Korean political entertainment in public setting. A historical overview of Korean political entertainment traces back to the 1930s when Mandam, a unique kind of political satiric talk became popular in 1930s. Mandam played a satiric role in influencing public opinion on political affairs, particularly led by the early generation of Mandam storytellers. (...) Their criticism centered on Japanese colonial rule, even though Mandam was limited in terms of freedom of speech during this period. Furthermore, this study highlights that the great popularity of Mandam was driven by business organizations for the commercial purpose. Mandam was placed at the core of intricate relationships among the related industries. In sum, the present study concludes that as distinctive form blending political information and entertainment, Mandam played a vital role in expressing individuals‟ political opinions under the communicative circumstances during the Japanese colonial period. (shrink)

The primary goal of this paper is to investigate the theoretical and methodological applicability of the relevant theories of Marcuse and Foucault to analyzing the relationship between comedic pleasure and the popular media. The researchers investigate the similarities of and the differences between the respective positions of Marcuse and Foucault as they relate to power relations, subjectivity, and practice. Likewise, the methodological applicability of these theorists’ work to a discourse analysis of how media content constructs comedic pleasure is considered. Overall, (...) the present study explored the arrangement and deployment of discourses of comedic pleasure as exploited by the power/knowledge mechanism of the media and the entertainment industry. And, through this discussion, the current study argued that three key statements constitute a discursive framework for the analysis of comedic pleasure in the popular media. (shrink)