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Books on the topic 'The phenomenon of the Korean Hallyu wave'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

Kŭrigo Hallyu" Semina (2012 Korea) "Munhwa wa Han'guk Kyŏngje. Munhwa wa Han'guk kyŏngje, kŭrigo hallyu: Culture, Korean economy and the Korean wave. Segye Kyŏngje Yŏn'guwŏn, 2012.

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2

Na, po-ra. Hallyu: Yŏksa, iron, sarye = The Korean wave : evolution, fandom, and transnationality. Hanul Ak'ademi, 2019.

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3

author, Chang Wŏn-ho 1962, ed. Hallyu e konggam hanŭn chiguch'on saramdŭl: Sahoehakcha ŭi sajin ŭro pon Hallyu ŭi hyŏnjang = Global villagers emphasizing with the Korean wave : the Korean wave in photos of sociologist. Paeksan Sŏdang, 2020.

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4

Hyŏn-jin, Im, ed. Tong Asia munhwakwŏn esŏŭi Hallyu: Hyŏnji chumin ŭi panŭng ŭl t'onghae pon Tong Asia ŭi Hallyu : yŏksa, munhwa, tŭrama, yŏnghwa, K-pop, ŭmsik, ŭisang = Korean wave. Chininjin, 2014.

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5

Yŏn'guwŏn, Han'guk Munhwa Kwan'gwang, ed. Hallyu 20-yŏn, sŏngkwa wa mirae chŏllyak: Twenty years of Korean wave, past achievements and future strategies. Han'guk Munhwa Kwan'gwang Yŏn'guwŏn, 2020.

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6

Yoon, Tae-Jin, and Dal Yong Jin, eds. Korean Wave. The Rowman & Littlefield Publishing Group, 2017. https://doi.org/10.5040/9781978736214.

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Since the Korean Wave phenomenon started in 1997, Hallyu has undergone many changes. Geographically, while Asia has been the largest cultural market for the Korean cultural industries, other parts of society, including North America, Europe, the Middle East, and Latin America have gradually admitted Korean popular culture. The components of the Korean Wave have also greatly expanded. Hallyu originally implied the exports of a few cultural products, such as television dramas, popular music, and films; however, Korea has recently developed and exported K-pop, digital games and smartphone technol

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7

Jin, Dal Yong. The Rise of the New Korean Wave. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0001.

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This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major historical developments: the Hallyu 1.0 era (approximately between 1997 and 2007) and the Hallyu 2.0, New Korean Wave, era (mainly from 2008 to the present). Although these two periods share some common phenomena, they are dissimilar in their major characteristics, such as the major cultural forms exported, technological developments, fan bases, and government cultural policies. It then sets out the

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8

Jin, Dal Yong, Kyong Yoon, and Wonjung Min. Transnational Hallyu. The Rowman & Littlefield Publishing Group, 2021. https://doi.org/10.5040/9798881818180.

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While the influence of Western, Anglophone popular culture has continued in the global cultural market, the Korean cultural industry has substantially developed and globally exported its various cultural products, such as television programs, pop music, video games and films. The global circulation of Korean popular culture is known as the Korean wave, or Hallyu. Given its empirical scope and theoretical contributions, this book will be highly appealing to any scholar or student interested in media globalization and contemporary Asia popular culture. These chapters present the evolution of Hal

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9

Jin, Dal Yong. Cultural Politics in the New Korean Wave Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0002.

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This chapter investigates the role of the nation-state in the cultural industries and the Korean Wave in the context of the broader social structure of society amid neoliberal globalization. It articulates how the Korean government has developed the cultural industries and the ways in which the government has cultivated its cultural policies in global trade, such as export promotion, direct and indirect export subsidies and supports, and the promotion of the nation's cultural image abroad. It especially analyzes whether neoliberal ideologies, emphasizing a small government regime, have complet

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10

Kim, Kyung Hyun. Hegemonic Mimicry. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021803.

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In Hegemonic Mimicry, Kyung Hyun Kim considers the recent global success of Korean popular culture—the Korean wave of pop music, cinema, and television, which is also known as hallyu—from a transnational and transcultural perspective. Using the concept of mimicry to think through hallyu's adaptation of American sensibilities and genres, he shows how the commercialization of Korean popular culture has upended the familiar dynamic of major-to-minor cultural influence, enabling hallyu to become a dominant global cultural phenomenon. At the same time, its worldwide popularity has rendered its Kore

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11

Jin, Dal Yong. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0009.

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This chapter first summarizes the major characteristics of the New Korean Wave. It then considers whether we need to develop non-Western media theories to explain the rapid growth of local popular culture in the global markets or whether we have to apply and utilize current forms of these theories. It also discusses what we have to keep in mind in further studies on the Hallyu phenomenon in the midst of globalization, which will be a good case study for several other emerging local markets. It argues that producers in the Korean cultural industries need to develop the unique culture through th

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12

Hallyu!: The Korean Wave. V & A Publishing, 2022.

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13

Yoon, Kyong. Diasporic Hallyu: The Korean Wave in Korean Canadian Youth Culture. Springer International Publishing AG, 2022.

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14

Yoon, Kyong. Diasporic Hallyu: The Korean Wave in Korean Canadian Youth Culture. Springer International Publishing AG, 2022.

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15

Samosir, Nora. Sociolinguistics of the Korean Wave: Hallyu and Soft Power. Routledge, 2024.

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16

Sociology of Hallyu Pop Culture: Surfing the Korean Wave. Springer International Publishing AG, 2021.

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17

Hallyu, Asia rŭl nŏmo segye ro: The Korean wave. Kukhoe Tosŏgwan, 2011.

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18

Sociology of Hallyu Pop Culture: Surfing the Korean Wave. Springer International Publishing AG, 2022.

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19

Samosir, Nora. Sociolinguistics of the Korean Wave: Hallyu and Soft Power. Routledge, 2024.

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20

Chiguch'on kwa Hallyu param: Global village and Korean wave. Tosŏ Ch'ulp'an Yega, 2016.

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21

Park, Hyesu. Understanding Hallyu: The Korean Wave Through Literature, Webtoon, and Mukbang. Taylor & Francis Group, 2020.

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22

Park, Hyesu. Understanding Hallyu: The Korean Wave Through Literature, Webtoon, and Mukbang. Taylor & Francis Group, 2020.

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23

Park, Hyesu. Understanding Hallyu: The Korean Wave Through Literature, Webtoon, and Mukbang. Taylor & Francis Group, 2020.

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24

Understanding Hallyu: The Korean Wave Through Literature, Webtoon, and Mukbang. RoutledgeFalmer, 2023.

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25

Understanding Hallyu: The Korean Wave Through Literature, Webtoon, and Mukbang. Taylor & Francis Group, 2020.

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26

The Korean wave: A new pop culture phenomenon. Korean Culture and Information Service, 2011.

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27

Nornes, Abé Markus, and Sangjoon Lee. Hallyu 2.0: The Korean Wave in the Age of Social Media. University of Michigan Press, 2015.

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28

Hallyu 2.0: The Korean Wave in the Age of Social Media. University of Michigan Press, 2015.

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29

Nornes, Abé Markus, and Sangjoon Lee. Hallyu 2. 0: The Korean Wave in the Age of Social Media. University of Michigan Press, 2015.

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30

Hallyu pŭraendŭ segyehwa: Iron kwa sirhaeng chŏllyak = Korean-wave brands : globalization theory and execution. Han'gyŏngsa, 2017.

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31

Marinescu, Valentina. Global Impact of South Korean Popular Culture. The Rowman & Littlefield Publishing Group, 2014. https://doi.org/10.5040/9781978737075.

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This volume fills a gap in the existing literature and proposes an interdisciplinary and multicultural comparative approach to the impact of Hallyu worldwide. The contributors analyze the spread of South Korean popular products from different perspectives (popular culture, sociology, anthropology, linguistics) and from different geographical locations (Asia, Europe, North America, and South America). The contributors come from a variety of countries (UK, Japan, Argentina, Poland, Bulgaria, Czech Republic, Indonesia, USA, Romania). The volume is divided into three sections and twelve chapters t

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32

Jin, Dal Yong. Cultural Globalization in Korean Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0004.

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This chapter examines the swift change experienced by the Korean film industry in conjunction with the Korean Wave. It investigates the primary causes of the roller coaster-like shifts within Korean cinema, including government cultural policies due to the significant role of the government in the midst of neoliberal globalization. It then maps out the nature of cultural hybridity in domestic films by comparing hybridized films between the Hallyu 1.0 era and the Hallyu 2.0 era. By textually analyzing film genres and themes of 240 films produced domestically between 1989 and 2012, the chapter e

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33

Jin, Dal Yong. Digital Hallyu 2.0: Transnationalization of Local Digital Games. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0007.

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This chapter maps out the growth of locally based digital games. In the twenty-first century, the New Korean Wave has been expanding with the rapid growth of digital culture, in particular with online gaming. The rapid growth of the Korean digital game industry, including online gaming, and its export into the Western market have raised a fundamental question of whether digital culture has changed the nature of the Korean Wave, from a regionally focused intracultural flow to include a Western-focused contraflow. The chapter attempts to discuss the ways in which local online games, in particula

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34

Jin, Dal Yong. Transnational Television Programs. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0003.

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This chapter documents recent developments characterizing the New Korean Wave in the realm of the broadcasting sector. It discusses television Hallyu as both transnational cultural production and transnational cultural flow. Admitting the continuing importance of dramas in the Korean Wave, it analyzes the growth of global formats, including audience competition shows, in order to understand the major characteristics of local formats in tandem with hybridity. In the realm of drama, it examines the change from ready-made dramas to format dramas in the New Korean Wave era. Then it investigates th

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35

Tanter, Marcy L., and Moisés Park, eds. Here Comes the Flood. The Rowman & Littlefield Publishing Group, 2022. https://doi.org/10.5040/9781666995022.

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This collection breaks down the stereotypes often expected of Korean popular culture, specifically examining issues of gender, sexuality, and stereotype in a variety of cultural products including K-pop, K-drama, and cover dancing through the lens of how “Koreanness” can be defined. A diverse range of of contributors showcase how Hallyu, or the Korean Wave, began as a wave rolling across Asia and morphed into a tsunami that has impacted every continent, making Korean popular culture an industry that draws in fans on a global scale. The stereotypes and issues being explored in this collection,

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