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For people around the world, “Broadway” means the Broadway musical, the epitome of singing and dancing, glamor and dazzle. Although the Broadway musical is customarily perceived as the most distinctively U. S. theatre form – whose national and municipal identity is embedded in its name – it has circumnavigated the globe countless times. As the globalized cultural economy increasingly facilitates the worldwide circulation of multinational theatrical productions, Broadway-style musicals are being manufactured from Hamburg to Shanghai. They are no longer a specifically U. S. form, but a global brand that freely crosses borders, genres, and styles. The mobility of the newly deterritorialized Broadway musical is the result of many phenomena, notably the rise of a generation of producers, writers, directors, and actors around the world who have absorbed the musical’s conventions and vernaculars and who disseminate locally-produced musical entertainments. In the twenty-first century, these new Broadway-style musicals have become the preeminent transnational theatre form, whose conventions have also been absorbed into both popular and elite theatrical entertainments around the world.

The Korean demilitarized zone might be among the most heavily guarded places on earth, but it also provides passage for thousands of defectors, spies, political emissaries, war prisoners, activists, tourists, and others testing the limits of Korean division. This book focuses on a diverse selection of inter-Korean border crossers and the citizenship they acquire based on emotional affiliation rather than constitutional delineation. Using their physical bodies and emotions as optimal frontiers, these individuals resist the state's right to draw geopolitical borders and define their national identity. Drawing on sources that range from North Korean documentary films, museum exhibitions, and theater productions to protester perspectives and interviews with South Korean officials and activists, this volume recasts the history of Korean division and draws a much more nuanced portrait of the region's Cold War legacies. The book ultimately helps readers conceive of the DMZ as a dynamic summation of personalized experiences rather than as a fixed site of historical significance.

On the occasion of the 70th anniversary of the Korean War in 2020, this paper aims to identify aspects of South Korea’s division plays and examine how those produced around 2018 shed new light on the division. There has been a consistent output of plays exploring the division issue since the Korean War in the 1950s, but a new generation of theatre artists distance themselves from their predecessors with an entirely new approach to the subject. Amid a reconciliatory mood on the Korean Peninsula following the 2018 inter-Korean summit at the border village of Panmunjeom, inter-Korean division is emerging as a dominant theme in South Korean theatre. This paper discusses three plays by Creative VaQi: Walking Holiday, Love Story, and Brothers.

This paper presents a comprehensive analysis of the popularity and acceptability of Indian and South Korean films among Chinese audiences, highlighting the dynamics of film globalization within Mainland China. The study aims to investigate the appeal of Indian and South Korean cinemas among Chinese moviegoers. Data were collected through a questionnaire-based survey with 1963 respondents. The findings indicate that 45% of respondents regularly watch Indian films, while 34% frequently watch South Korean films. A positive correlation was identified between increased monthly film consumption and heightened interest in non-Hollywood/non-Western movies. Respondents reported various sources for discovering new foreign films, expressing general satisfaction with the genres of South Korean and Indian cinema. Additionally, the study revealed that the thematic content and narrative structures of these films offer learning opportunities for the Chinese film industry. Notably, Indian actor Aamir Khan and South Korean director Bong Joon-ho emerged as particularly popular figures among Chinese audiences. The survey underscores those Chinese moviegoers value high-quality films, regardless of their country of origin. The findings suggest that enhancing the accessibility and promotion of Indian and South Korean films in China could further diversify Chinese film consumption and foster cross-cultural learning and appreciation. Plain Language Summary This study aimed to investigate the popularity of Indian and South Korean movies among Chinese moviegoers. The researchers used a questionnaire to collect data from 1963 participants. The study found that 45% and 34% of respondents watched South Korean and Indian movies in cinemas. Moreover, the researchers discovered a positive correlation between increased monthly film consumption and a greater interest in non-Hollywood/non-Western movies. Indian actor Aamir Khan and South Korean director Bong Joon-ho were the most popular among Chinese audiences. The study mainly implies that Chinese moviegoers appreciate quality films from different countries. However, it is important to note that the study has some limitations, as the sampling method was non-probability, and the sources and time were limited. The findings could benefit filmmakers, distributors, and industry stakeholders who want to reach the Chinese market.

UNESCO since the 1970s has debated the best way to support and preserve cultural heritage forms. Masterpieces of Oral and Intangible Cultural Heritage of Humanity were declared from 2001 until 2006, when the new Intangible Cultural Hentage convention replaced that program. Japan provided models and leadership for the masterpieces program. New thinking in museum practice, interest in finding ways to value performing arts as much as geographical or architectural monuments, and hopes for safeguarding and giving communities ownership of genres concerned were involved in the evolution from the masterpieces model to the Intangible Cultural Héritage model. The needs of Southeast Asian groups and their ownership of the process are queued.

In Korea, movie narrators enjoyed the admiration of people across class and cultural differences based on their ability to guide audiences through the many novel, foreign images on screen. But despite the prestige of the narrators ' profession, it was a demanding one. They had to deftly maneuver between what would entertain and be appropriate for the people of various social classes and cultural backgrounds, while also complying with the demands of public scrutiny and the many regulations regarding public order. Although it has been suggested that the narrators had some authority on matters related to modernity, it is unlikely that they were ever able to rely on that to escape the reality of the sociopolitical status quo. This article analyzes what factors determined the status of movie narrators in the silent film era. It explores to what extent narrators would have been able to claim authority in the position of both pop star and colonial subject and argues that power effectively relies on the perceived value of the assets one commands.

This paper examines the process by which the South Korean government revived Japanese forms of cultural policy to mobilize the populace in support of state goals, thus reproducing colonial cultural experiences in postcolonial times. Facing threats to their authority from the North Korean communist alternative, the inequalities of rapid economic development, and the questionable legitimacy of their unelected military governments, successive South Korean regimes expanded cultural policies to create a shared sense of national identity. While placing particular emphasis on Park Chung Hee’s adaptation of Japanese cultural projects to uphold the legitimacy of his regime after the normalization of diplomatic relations in 1965, I also underscore how later regimes managed many colonial cultural experiences to create their own national cultural policies. My discussion of continuities and discontinuities in cultural practice between these two East Asian nations contributes to a better understanding of the transnational exchange of the ideals and structures used to facilitate state goals.

This article focuses on how images of Hwang Chin-i, one of the most fascinating characters in Korean literature and media, have evolved over time as well as how she could have maintained her position as a representative feminine icon in cinema and television. Characterizations of Hwang Chin-i have been reinterpreted according to the ethos of different ages, partially conditioned by the public persona of the top actresses of those periods. Despite the many versions of the Hwang Chin-i narrative, none has fully presented all the fascinating facets of her personality such as her artistry, her devastating social critiques, and her sexuality. Each version represents the values pursued by the audiences of those times. This is mainly because the historical dramas have tended to show audiences what they want to see rather than what really happened.

The purpose of this paper is to examine the phenomenon of the Korean Wave (hallyu) in China and explore its implications for the Korea-China relationship. As a cultural phenomenon, hallyu had a significant bearing on the perception of Korea by Chinese people. Korean TV dramas, films, and pop music served as a special window through which Chinese audiences gained an understanding of Korean society and formed a sense of cultural familiarity towards Korea. It also helped generate cultural synchronization between the two countries. As an economic phenomenon, it stimulated collaboration as well as competition between the Korean and Chinese cultural industries.Collaboration in the production and distribution of TV shows and films continues to be widened and diversified. Finally, hallyu served as fertile soil for cultural politics, as it was often entangled with disputes in other realms of the Korea-China relationship, including such issues as cultural heritage, history, and nationalism.