By John Nguyet Erni, Siew Keng Chua

This groundbreaking selection of unique essays offers new views in Asian media reports. the quantity covers a various diversity of themes from media coverage to globalization, utilizing vigorous examples from numerous nations and media.Content:
Chapter 1 creation: Our Asian Media stories? (pages 1–15): John Nguyet Erni and Siew Keng Chua
Chapter 2 Discrepant Intimacy: pop culture Flows in East Asia (pages 19–36): Koichi Iwabuchi
Chapter three Hook' em younger: McAdvertising and youngsters in Singapore (pages 37–54): Siew Keng Chua and Afshan Junaid
Chapter four Techno?Orientalization: The Asian VCD adventure (pages 55–71): Kelly Hu
Chapter five The fight for Press Freedom and Emergence of “Unelected” Media energy in South Korea (pages 75–90): Myung?Koo Kang
Chapter 6 “Forward?Looking” News?: Singapore's information five and the Marginalization of the Dissenting Voice (pages 91–115): Sue Abel
Chapter 7 past the Fragments: Reflecting on “Communicational”Cultural stories in South Korea (pages 116–135): Keehyeung Lee
Chapter eight Re?Advertising Hong Kong: Nostalgia and well known historical past (pages 136–158): Eric Kit?wai Ma
Chapter nine the complete global is staring at Us: tune tv Audiences in India (pages 161–182): Vamsee Juluri
Chapter 10 From kind exhibits to Body?Sculpting ads: Figures of viewers and the Sexualization of Women/Girls (pages 183–206): Irene Fang?chih Yang
Chapter eleven getting better Malay Custom/Adat in lady Sexuality in Malaysian movies (pages 207–224): Gaik Cheng Khoo
Chapter 12 The Formation of a Queer?Imagined group in Post?Martial legislations Taiwan (pages 225–252): John Nguyet Erni and Anthony Spires

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Extra info for Asian Media Studies: Politics of Subjectivities

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Western popular culture looks too 30 Discrepant Intimacy remote from their everyday lives. However, unlike Taiwanese audiences of Japanese TV dramas, the sense of cultural and bodily proximity tends to simultaneously strengthen the Japanese fans’ perception of cultural difference between Japan and Hong Kong. What is crucial here is that such perception is facilitated by recognition of the disappearance of temporal distance between Japan and Hong Kong. As a female in her late twenties told me: “I think that Hong Kong films are powerful and energetic.

There might be some similar cultural values concerning family and individualism between Taiwan and Japan, but the attractiveness of such values is newly articulated by particular programs under a specific historical context. Rika’s forward-looking and independent attitude depicted in Tokyo Love Story, for example, was perceived as a desir25 Koichi Iwabuchi able image of “modern” or “new age” woman in Taiwan. Taiwanese viewers told me that Rika’s attitude to love in Tokyo Love Story is different both from that of the characters of American dramas like Beverley Hills 90210 which is too open and not single-minded, and from that of Taiwan dramas which are very passive and submissive.

Appreciating Wong Kar-wai or Leslie Cheung, not Asian film or music in general) that we can detect self-reflexive voices and the realization that Japanese must meet other Asians on equal terms. However, in such a conception, other Asian nations are still reduced to entities that are undifferentiatedly represented by urban middle-class strata, the main players of consumerism. Moreover, the demarcation between Hong Kong and Asia is imperative for many fans, as the latter is predominantly associated with the image of backwardness.

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