David C. Oh – författare

Showcases the dynamism of cross-cultural engagement with Korean mediaKorean media has exploded in popularity across the globe in the past decade: BTS and other K-pop groups have packed stadiums, Parasite garnered record-breaking critical success, The Masked Singer and Single’s Inferno became viral TV hits, and multiday KCON fan events have highlighted not only media but Korean food, cosmetics, and fashion. Exploring how fans from different cultural and racial backgrounds engage with Korean media in local and individual contexts, this edited collection reveals complex transcultural affinities, conflicts, and negotiations. The essays delve into the ways people create meaning from, and shape affinity to, Korean television and music. The book also explores Korean popular culture’s influence on audiences’ imaginative play, desires, and fantasies, critically examining topics such as TikTok as a space of Asian fetishization, Black YouTubers’ K-pop reaction videos, the perception of Korean men in opposition to European hegemonic masculinity, and Middle Eastern fans’ responses to appropriation in K-pop. Throughout, the contributors provide perceptive analyses that reveal what the interplay of race and Korean entertainment tells us about the complex nature of transnational fandom.

Showcases the dynamism of cross-cultural engagement with Korean mediaKorean media has exploded in popularity across the globe in the past decade: BTS and other K-pop groups have packed stadiums, Parasite garnered record-breaking critical success, The Masked Singer and Single’s Inferno became viral TV hits, and multiday KCON fan events have highlighted not only media but Korean food, cosmetics, and fashion. Exploring how fans from different cultural and racial backgrounds engage with Korean media in local and individual contexts, this edited collection reveals complex transcultural affinities, conflicts, and negotiations. The essays delve into the ways people create meaning from, and shape affinity to, Korean television and music. The book also explores Korean popular culture’s influence on audiences’ imaginative play, desires, and fantasies, critically examining topics such as TikTok as a space of Asian fetishization, Black YouTubers’ K-pop reaction videos, the perception of Korean men in opposition to European hegemonic masculinity, and Middle Eastern fans’ responses to appropriation in K-pop. Throughout, the contributors provide perceptive analyses that reveal what the interplay of race and Korean entertainment tells us about the complex nature of transnational fandom.

Multiculturalism in Korea formed in the context of its neoliberal, global aspirations, its postcolonial legacy with Japan, and its subordinated neocolonial relationship with the United States. The Korean ethnoscape and mediascape produce a complex understanding of difference that cannot be easily reduced to racism or ethnocentrism. Indeed the Korean word, injongchabyeol, often translated as racism, refers to discrimination based on any kind of “human category.” Explaining Korea’s relationship to difference and its practices of othering, including in media culture, requires new language and nuance in English-language scholarship.This collection brings together leading and emerging scholars of multiculturalism in Korean media culture to examine mediated constructions of the “other,” taking into account the nation’s postcolonial and neocolonial relationships and its mediated construction of self. “Anthrocategorism,” a more nuanced translation of injongchabyeol, is proffered as a new framework for understanding difference in ways that are locally meaningful in a society and media system in which racial or even ethnic differences are not the most salient. The collection points to the construction of racial others that elevates, tolerates, and incorporates difference; the construction of valued and devalued ethnic others; and the ambivalent construction of co-ethnic others as sympathetic victims or marginalized threats.

Multiculturalism in Korea formed in the context of its neoliberal, global aspirations, its postcolonial legacy with Japan, and its subordinated neocolonial relationship with the United States. The Korean ethnoscape and mediascape produce a complex understanding of difference that cannot be easily reduced to racism or ethnocentrism. Indeed the Korean word, injongchabyeol, often translated as racism, refers to discrimination based on any kind of “human category.” Explaining Korea’s relationship to difference and its practices of othering, including in media culture, requires new language and nuance in English-language scholarship.This collection brings together leading and emerging scholars of multiculturalism in Korean media culture to examine mediated constructions of the “other,” taking into account the nation’s postcolonial and neocolonial relationships and its mediated construction of self. “Anthrocategorism,” a more nuanced translation of injongchabyeol, is proffered as a new framework for understanding difference in ways that are locally meaningful in a society and media system in which racial or even ethnic differences are not the most salient. The collection points to the construction of racial others that elevates, tolerates, and incorporates difference; the construction of valued and devalued ethnic others; and the ambivalent construction of co-ethnic others as sympathetic victims or marginalized threats.

Second-Generation Korean Americans and Transnational Media: Diasporic Identifications looks at the relationship between second-generation Korean Americans and Korean popular culture. Specifically looking at Korean films, celebrities, and popular media, David C. Oh combines intrapersonal processes of identification with social identities to understand how these individuals use Korean popular culture to define authenticity and construct group difference and hierarchy. Oh highlights new findings on the ways these Korean Americans construct themselves within their youth communities. This work is a comprehensive examination of second-generation Korean American ethnic identity, reception of transnational media, and social uses of transnational media.

Whitewashing the Movies addresses the popular practice of excluding Asian actors from playing Asian characters in film. Media activists and critics have denounced contemporary decisions to cast White actors to play Asians and Asian Americans in movies such as Ghost in the Shell and Aloha. The purpose of this book is to apply the concept of "whitewashing" in stories that privilege White identities at the expense of Asian/American stories and characters. To understand whitewashing across various contexts, the book analyzes films produced in Hollywood, Asian American independent production, and US-China co-productions. Through the analysis, the book examines the ways in which whitewashing matters in the project of Whiteness and White racial hegemony. The book contributes to contemporary understanding of mediated representations of race by theorizing whitewashing, contributing to studies of Whiteness in media studies, and producing a counter-imagination of Asian/American representation in Asian-centered stories.

Whitewashing the Movies addresses the popular practice of excluding Asian actors from playing Asian characters in film. Media activists and critics have denounced contemporary decisions to cast White actors to play Asians and Asian Americans in movies such as Ghost in the Shell and Aloha. The purpose of this book is to apply the concept of "whitewashing" in stories that privilege White identities at the expense of Asian/American stories and characters. To understand whitewashing across various contexts, the book analyzes films produced in Hollywood, Asian American independent production, and US-China co-productions. Through the analysis, the book examines the ways in which whitewashing matters in the project of Whiteness and White racial hegemony. The book contributes to contemporary understanding of mediated representations of race by theorizing whitewashing, contributing to studies of Whiteness in media studies, and producing a counter-imagination of Asian/American representation in Asian-centered stories.

Combining critical race studies with cultural production studies, Navigating White News: Asian American Journalists at Work is the only academic book to examine the ways that racial identification and activation matters in their understanding of news. This adds to the existing literature on race and the sociology of news by examining intra-racial differences in the ways they navigate and understand White newsrooms. Employing in-depth interviews with twenty Asian American journalists who are actively working in large and small newsrooms across the United States, Navigating White News: Asian American Journalists at Work argues that Asian American reporters for whom racial identities are important questioned what counted as news, questioned the implicitly White perspective of objectivity, and actively worked toward providing more complex, substantive coverage of Asian American communities. For Asian American reporters for whom racial identity was not meaningful, they were more invested in existing professional norms. Regardless, all journalists understood that news is a predominantly and culturally White institution.