Taeyoung Kim – författare

Using a qualitative, interview-based approach, Kim investigates how conflicting identities and social marginalization affect the mental health of members of the ethnic Korean minority living in Japan.

So-called “Zainichi” Koreans living in Japan have a higher suicide rate than native Japanese, or than any other ethnic group within Japan, a country which has one of the highest suicide rates in the world. Considering themselves neither truly Korean nor wholly Japanese, they are mainly descendants of immigrants who came to Japan during the colonial period in the late 19th and early 20th centuries. Kim explores the challenges facing these individuals, including the dilemmas of ethnic education, the discrimination against them by mainstream society, and the consequent impacts on their mental health.

An insightful read both for scholars of Japanese culture and society and for anthropologists and sociologists with an interest in the effects of marginalization on ethnic minority citizens more broadly.

Using a qualitative, interview-based approach, Kim investigates how conflicting identities and social marginalization affect the mental health of members of the ethnic Korean minority living in Japan.

So-called “Zainichi” Koreans living in Japan have a higher suicide rate than native Japanese, or than any other ethnic group within Japan, a country which has one of the highest suicide rates in the world. Considering themselves neither truly Korean nor wholly Japanese, they are mainly descendants of immigrants who came to Japan during the colonial period in the late 19th and early 20th centuries. Kim explores the challenges facing these individuals, including the dilemmas of ethnic education, the discrimination against them by mainstream society, and the consequent impacts on their mental health.

An insightful read both for scholars of Japanese culture and society and for anthropologists and sociologists with an interest in the effects of marginalization on ethnic minority citizens more broadly.

Cultural Policies in the Era of the Korean Wave explores how the state instrumentalises cultural industries, despite the bulk of their production and delivery mechanisms becoming subject to the market logic and foreign stakeholders, through an in-depth study of the South Korean government’s cultural industry policies.

Drawing on interviews with policymakers and producers in the Korean film, music, and television industries, it investigates how the government’s policy schemes—ranging from funding programmes and public agencies established to promote cultural industries to the blacklisting of those opposing the administration’s political agendas—demonstrate the government’s strong desire to influence cultural production. The findings highlight how the state retains political power to instrumentalise cultural products, even as market forces shape production mechanisms and genre characteristics that have become increasingly transnational.

This book sheds new light on how the state approves and reappropriates the doctrines of neoliberal globalisation to serve its interests in instrumentalising culture, making it relevant for scholars and students in the areas of media and cultural policy, media and cultural industries, global media, and Asian studies.

Cultural Policies in the Era of the Korean Wave explores how the state instrumentalises cultural industries, despite the bulk of their production and delivery mechanisms becoming subject to the market logic and foreign stakeholders, through an in-depth study of the South Korean government’s cultural industry policies.

Drawing on interviews with policymakers and producers in the Korean film, music, and television industries, it investigates how the government’s policy schemes—ranging from funding programmes and public agencies established to promote cultural industries to the blacklisting of those opposing the administration’s political agendas—demonstrate the government’s strong desire to influence cultural production. The findings highlight how the state retains political power to instrumentalise cultural products, even as market forces shape production mechanisms and genre characteristics that have become increasingly transnational.

This book sheds new light on how the state approves and reappropriates the doctrines of neoliberal globalisation to serve its interests in instrumentalising culture, making it relevant for scholars and students in the areas of media and cultural policy, media and cultural industries, global media, and Asian studies.