From Survival to Solidarity: Sisterhood in the Cinematic Narrative of Pop Star Academy: KATSEYE

Most people would agree that films can significantly impact individual attitudes and cultural narratives, but little research has sought to empirically measure these impacts. It is becoming increasingly important for documentary (and other issue-based) films to justify costs by providing data on the social “return on investment”, but care must be taken to ensure that both the questions asked and the methods used to answer them are valid and respectful. This paper introduces an emerging research agenda for the study of documentary film impacts, discussing both why such evaluation is important and key issues relevant to assessing impact. Author Keywords Film, Impact, Evaluation, Social Change INTRODUCTION Documentary film has grown significantly in the past decade, with high profile films such as Fahrenheit 9/11, Supersize Me, and An Inconvenient Truth garnering increased attention both at the box office and in the news media. In addition, the rising prominence of web-based media has provided new opportunities for documentary to create social impact. Films are now typically released with websites, Facebook pages, twitter feeds, and web videos to increase both reach and impact. This combination of technology and broader audience appeal has given rise to a current landscape in which documentary films are imbedded within coordinated multi-media campaigns. New media have not only opened up new avenues for communicating with audiences, they have also created new opportunities for data collection and analysis of film impacts. A recent report by McKinsey and Company highlighted this potential, introducing and discussing the implications of increasing consumer information being recorded on the Internet as well as through networked sensors in the physical world. As they found: "Big data—large pools of data that can be captured, communicated, aggregated, stored, and analyzed—is now part of every sector and function of the global economy" (Manyika et al. iv). This data can be mined to learn a great deal about both individual and cultural response to documentary films and the issues they represent. Although film has a rich history in humanities research, this new set of tools enables an empirical approach grounded in the social sciences. However, several researchers across disciplines have noted that limited investigation has been conducted in this area. Although there has always been an emphasis on social impact in film and many filmmakers and scholars have made legitimate (and possibly illegitimate) claims of impact, few have attempted to empirically justify these claims. Over fifteen years ago, noted film scholar Brian Winston commented that "the underlying assumption of most social documentaries—that they shall act as agents of reform and change—is almost never demonstrated" (236). A decade later, Political Scientist David Whiteman repeated this

Sexist language in religious texts can be meaningfully explored through the combined perspectives of sociolinguistics and translation studies. Sociolinguistics helps uncover how gendered language reflects and reinforces social norms and power dynamics, while translation studies examine how these patterns are maintained, altered, or challenged when texts are translated into other languages. Together, these approaches offer a deeper understanding of how gender bias is embedded and transmitted through sacred texts. This study examines how gendered terms from the New English Translation (NET) Bible are rendered in the Tok Pisin Buk Baibel (TPBB), focusing on the representation, translation techniques, and shifts in gendered language. In Papua New Guinea (PNG), where Tok Pisin serves as a lingua franca, biblical translations significantly influence cultural perceptions of gender. Despite widespread discussions on gender bias in major languages, limited attention has been given to Tok Pisin Bible translations. Using a qualitative approach, the study analyzed 629 gendered language instances from the Four Gospels of the NET Bible and their Tok Pisin equivalents. Findings of this study revealed that 35.77% of the linguistic data in the form of overt sexism were gender-neutral, 32.75% masculine, and 31.48% feminine. However, 57.52% of originally neutral terms shifted to masculine in Tok Pisin, revealing a gender bias. Masculine terms were preserved in 71.84% of cases, while 87.88% of feminine terms were retained. Translation techniques favored Established Equivalence, while Particularization was common in neutral terms. Quality assessments indicated high readability and acceptability, though accuracy was lower for neutral terms (average score: 2.23). Overall, this study underscores a prevailing tendency toward male-centric translation patterns commonly referred to as the patriarchal standard in the Tok Pisin Buk Baibel, despite efforts at inclusivity. These findings highlight the sociolinguistic impact of translation choices on gender representation in religious texts.

Introduction: Korean Media in a Digital Cosmopolitan World Youna Kim Part I: Power and Politics of the 1. Soft Power and the Korean Wave Joseph Nye and Youna Kim 2. The Korean Wave as Method: Inter-Asian Referencing Koichi Iwabuchi 3. Reconfiguring Media and Empire Oliver Boyd-Barrett Part II: Popular Media and Digital Mobile 4. Korean Wave Pop in the Internet Age: Why Popular? Why Now? Youna Kim 5. For the Eyes of North Koreans? Politics of Money and Class in Boys Over Flowers Suk-Young Kim 6. K-pop Female Idols in the West: Racial Imaginations and Erotic Fantasies Eun-Young Jung 7. Negotiating Identity and Power in Transnational Cultural Consumption: Korean American Youths and the Korean Wave Jung-Sun Park 8. Digitization and Online Cultures of the Korean Wave: East Asian Virtual Community in Europe Sang-Yeon Sung 9. Hybridization of Korean Popular Culture: Films and Online Gaming Dal Yong Jin 10. K-pop Dance Trackers and Cover Dancers: Cosmopolitanization and Local Spatialization Liew Kai Khiun Part III: Perspectives Inside/Outside 11. Cultural Policy and the Korean Wave: From National to Transnational Consumerism Hye-Kyung Lee 12. Re-Worlding Culture?: YouTube as a K-pop Interlocutor Kent A. Ono and Jungmin Kwon 13. The Korean Wave as a Cultural Epistemic Anandam Kavoori 14. The Korean Wave and Global Culture Yudhishthir Raj Isar

The Korean Wave (Hallyu) has become a global cultural phenomenon that significantly influences various aspects of society, including in Indonesia. One cultural element that has gained increasing popularity along with the rise of the Korean Wave is the hanbok, the traditional clothing of South Korea. This study aims to examine the contribution of the Korean Wave to the growing popularity of hanbok in Indonesia, particularly among younger generations. The research employs a descriptive qualitative method using a literature study approach, by collecting and analyzing data from various scholarly sources, cultural articles, official event reports, and relevant social media content. The results show that the Korean Wave has played a major role in introducing hanbok through popular media, such as Korean historical dramas, K-pop music videos, and cultural diplomacy programs like the Hanbok Experience. Hanbok is now perceived not only as a traditional garment but also as part of a global lifestyle and a symbol of Korean cultural identity admired by Indonesian society. In conclusion, the Korean Wave has made a significant contribution in shaping positive perceptions, increasing interest, and expanding the use of hanbok in Indonesia within the context of contemporary popular culture.

Recent public backlash about diversity in the scripted U.S. entertainment industry has been reflected under the viral #OscarsSoWhite hashtag. Despite the heightened importance of contemporary independent documentary films as reflections of social justice challenges, the #OscarsSoWhite scrutiny has ignored nonfiction storytelling. Using content analysis, this study examined the first decade of Oscar-shortlisted documentary feature films (N = 150) distributed in the streaming digital era (2008–2017) to assess racial, ethnic, and gender diversity among credited directors (N = 190) and producers (N = 1,027); the extent to which Oscar-shortlisted nonfiction feature films reflect social issues; and contemporary audience distribution availability. Over 10 years, contemporary Academy Award–shortlisted documentaries were overwhelmingly created by White, male directors and producers, and they were more likely to spotlight social justice topics than to portray purely entertaining narratives. This study draws from feminist and critical race theories to analyze the societal value of inclusion in the nonfiction storytelling business, given increased audience access to digital-era documentaries, as well as the dominance of the social issue documentary genre as a means of counter-storytelling. Implications and future research directions for documentary industry professionals and scholars are discussed.

A Rhetorician's Guide to Love: Online Dating Profiles as Remediated Commonplace Books

This dissertation examines professional wrestling in the U.S., in particular, live and television shows produced by the World Wrestling Entertainment (WWE). Through the examination, it addresses complex issues of authenticity, audience, commodification, and discipline in contemporary popular culture and media. I use three approaches in this study. First, I apply the theory of culture industry, developed by Theodor W. Adorno and Max Horkheimer, to understand WWE wrestling. I examine how the WWE thoroughly stylizes its products to attract fans and condition them to repeat the same calculable reactions. However, contemporary fans often refuse to react as the WWE wants them to. By analyzing the complex interplay between the WWE and fans, I update and re-contextualize Adorno and Horkheimer's idea that the culture industry exerts total control over consumers. Second, I examine the recent rise of "nonfictional" narratives in professional wrestling, narratives that candidly acknowledge wrestling's scripted nature. I demonstrate how the WWE uses nonfictional narratives to present fans new ways of finding realness in wrestling and respecting wrestlers. I also point out that, by utilizing both fictional and nonfictional narratives, the WWE has developed clever ways of balancing between offering controversial products and transmitting conservative and respectable messages to enhance its populist appeal. Third, I look at the history of professional wrestling through theories of modernity and postmodernity. I grasp it as a dynamic process in which wrestling has expressed its challenge against and ambivalence towards dominant ideologies, values, and masculinities of modernity in multiple ways. I also examine the predominance of obsessed subjectivities in contemporary WWE wrestling as a unique form of postmodern expression. I argue that obsessively competitive and self-destructive performances of WWE wrestlers illuminate the contradiction of the construction of modern "disciplined" subjects described by Michel Foucault. They also reveal that in the culture where pain and destruction of human beings are among the most desired objects, the WWE has to endanger real live bodies of its wrestlers in order to survive and thrive. WWE is a rich, problematic, and compelling cultural phenomenon that illuminates issues and contradictions of itself, and the system it belongs to.

This study uses research on collective memory, music and memory, transnationalism, and transgressive pedagogy to consider the ways in which the Korean American poet Ed Bok Lee presents music as a means of passing on collective memory and critiquing contemporary Korean popular culture. He identifies such memories as giving him a Korean “orientation of the soul” that he inherits from his parents, and he depicts that orientation in poems set in the U.S., especially “Inside Lake Heron,” from Real Karaoke People (2005). He claims to find that orientation most especially in the countryside when he returns to Korea. That orientation turns to disorientation in the cityscape of contemporary Seoul, as depicted through the musical motifs of “Chosun 5.0,” from Whorled (2011). Lee presents hallyu, particularly its musical manifestations, as a consumerist project that neglects Korean culture and history. Participation in that project through the unreflective consumption of k-pop and other manifestations of hallyu, implicates students in the neoliberal global economies that enforce “repetitions of the same” (Michael Hardt and Antonio Negri) through the “liturgical” (Jan Assmann) reinforcement of that sameness. While Lee`s poems can contribute to a transgressive, progressive pedagogy as advocated by Hyeyurn Chung and King-kok Cheung, one must also be aware of Lee`s essentializing “orientation.” On the terms suggested by Donald Pease, Lee`s essential tradition demonstrates that the transnational is also inescapably diasporic.

Visualizations today are used across a wide range of languages and cultures. Yet the extent to which language impacts how we reason about data and visualizations remains unclear. In this paper, we explore the intersection of visualization and language through a cross-language study on estimative probability tasks with icon-array visualizations. Across Arabic, English, French, German, and Mandarin, n = 50 participants per language both chose probability expressions - e.g. likely, probable - to describe icon-array visualizations (Vis-to-Expression), and drew icon-array visualizations to match a given expression (Expression-to-Vis). Results suggest that there is no clear one-to-one mapping of probability expressions and associated visual ranges between languages. Several translated expressions fell significantly above or below the range of the corresponding English expressions. Compared to other languages, French and German respondents appear to exhibit high levels of consistency between the visualizations they drew and the words they chose. Participants across languages used similar words when describing scenarios above 80% chance, with more variance in expressions targeting mid-range and lower values. We discuss how these results suggest potential differences in the expressiveness of language as it relates to visualization interpretation and design goals, as well as practical implications for translation efforts and future studies at the intersection of languages, culture, and visualization. Experiment data, source code, and analysis scripts are available at the following repository: https://osf.io/g5d4r/.

Critical and feminist studies have continued to demand for accounts of the representational challenges confronting marginalized people, as various social and cultural platforms continue to other and discriminate. The Roma, or the Gypsies, in particular have been one of the most reviled and marginalized ethnic groups. This study examines textual representations of gypsies in contemporary popular culture, evident in a musical adaptation of Victor Hugo’s celebrated novel The Hunchback of Notre Dame and its accompanying worldwide press coverage. It finds that artistic and press representations of the gypsy woman Esmeralda embody characteristics consistent with historic stereotypes of the bohemian. It also shows that the novel’s band of Parisian criminals have been reconfigured for present-day global audiences to include critique of current political and popular discourses about immigration. International critics, however, miss this latter point and confine their reporting to dominant ideology and (continued) rhetorical colonization of the other.

Language, as a reflection of societal values and beliefs, wields the power to shape perceptions of gender, often perpetuating a binary understanding through grammatical gender systems. The influence of the generic masculine and masculine norm within languages with dense grammatical gender reinforces this binary, marginalizing communities and centralizing power within the masculine form. Despite these challenges, endeavours towards gender neutrality within grammatical gender languages offer hope, particularly in their potential to benefit marginalized groups like the LGBTQ+ community. However, while recent advancements demonstrate potential for gender neutrality within language, the possibility of achieving a genuine ‘gender-free’ language remains a question, especially within grammatical gender languages and beyond. In order to begin answering this question, one needs to understand the concept of ‘gendered language’ and how it has impacted our perception of gender throughout history. It is also necessary to analyse how recent linguistic adjustments impact the LGBTQ+ community and the changes in attitudes towards non-binary spaces. By comparing attitudes towards gender in grammatical gender and genderless languages, we gain insight into the intricate relationship between language and societal norms. To do that one needs to look at the contemporary languages such as English, Spanish and Swedish, which are undergoing gender-neutral adaptations within the core lexicon and grammar. In addition to indigenous languages that have historically included a form of gender neutral language. In essence, this examination of language and gender dynamics offers the conclusion that it is possible to remove gender from language, yet cannot change the impact that gendered language has already had on society’s perception of gender.

Before the year 2000, Korean cooking, let alone Korean restaurants were practically unheard of in the Philippines. It took television, specifically the Korean drama Jewel in the Palace to introduce what Korean cuisine is all about. The gradual opening of Korean restaurants was originally intended to cater to Korean expatriates in the Philippines. However, as curiosity among Filipinos brought them to Korean restaurants, the general shock brought by spicy fermented vegetables or kimchi created the imagined concept that ―Korean food is altogether spicy.‖ While it created an ‗othering‘ exoticisation of Korean culture, it created at least two divergent attitudes among Filipino consumers: (1) dilution, or the search for toned down or Filipinised version of Korean cuisine, and (2) authenticity or the desire for ―authentic‖ Korean cooking. From these attitudes can be derived the opening that Korean culture can be understood through by Filipinos through a sustained fascination towards this foreign culture. Hansik is a product of millennia of cultural ecology in which Koreans created thousands of recipes based on topographic-environmental, religious-philosophical, and socioeconomic realities. This historical reality however lacks the necessary cultural interpretation and explanation. It is at this juncture that this paper explores the transmission and reception of hallyu through food production (cooking), presentation, and promotion in commercial restaurants, popular media, and government agencies such as the Korean Cultural Center in the Philippines and the Korea Tourism Organization. This paper looks at the Filipino imagining of Korean culture through the consumption of Korean cuisine, diluted or authentic.

This PhD thesis examines the proliferation of refugee-focussed documentary film texts in Australia as a response to the re-emergence of exclusive forms of nationhood in the mid-1990s. Responding to the (re)formation of the nation as a closed space and the ‘problematic’ of cultural pluralisation during the years under the Howard government, these films are positioned as disrupting the rhetorical and representational Othering of cultural minorities at this time. Through the marginalised narratives of their refugee and asylum seeker subjects and reflecting on a nation in ‘identity crisis’, films such as Tahir Cambis and Helen Newman’s Anthem: An Act of Sedition (2004), Pip Starr’s Through the Wire (2004) Clara Law’s Letters to Ali (2004), Tom Zubrycki’s Homelands (1993) and Molly and Mobarak (2003), Sally Ingleton’s The Isabellas: The Long March (1995) and Steve Thomas’ Hope (2007) offer a filmic response to an ‘Us and Them’ ideology that permeated the national imaginary. Where the national identity has been simplified and coded white by political rhetoric and popular media during this period, my writing in this thesis establishes the importance of documentary film as an audiovisual enunciation of alternatives; of imagining the nation differently to account for the shifting nature of its constituency. Whilst drawing on various incarnations of nationhood throughout the twentieth century and the positioning of documentary film discourses therein, this thesis will consider the stories of transnational journeying, exile and (un)belonging within these refugee-focussed films. This thesis positions these narratives as articulating a new cultural politics through the inclusion and, indeed, centring of individual narratives of seeking asylum. The six chapters of Peripheral Visions engage with themes of nationhood and national identity, border politics, immigration and multiculturalism, globalisation, transnationalism and migration and national cinemas, whilst their pivotal points focus on documentary film theory. As such, an overarching objective of this thesis is to foreground documentary film as a valuable and contributory evidence-based medium in this moment of perceived social crisis. While emphasis is placed on the reading and textual interpretation of the refugee-focussed documentary films, my writing here pays attention to their reception, their modes of production, the national and transnational frameworks they adhere to, as well as the transcultural, collaborative exchanges that occur through the filmmaking process, documented on screen as a reflection of the real world the films seek to portray.

Paralympic and Para sport representation has provided an important cultural site from which to explore the role of popular disability media in shaping everyday disability knowledge(s) through relations of power, ideology and meaning. Yet limited attention has been afforded to the affective dimensions of Para sport media that may help extend our understanding of its performative power on audiences. In critique of the recent Netflix Paralympic documentary film, ‘Rising Phoenix’, this article affords particular attention to the production of disability affects through the cinematic entanglement of things, bodies and language that work to involve audiences on an affective, emotional and sensorial level. Drawing on Sara Ahmed's (2004) cultural politics of emotion, it is argued that the film produces an economy of disability affects that contribute to the qualitative affective qualities of the film yet operate to (re-)configure sites of disabled normativity, gendered disability relations and nourish ‘supercrip’ and ‘medico-tragedy’ disability narratives. Attention is paid to the implications of this and the role of sport documentary film more widely in generating affective modes of representation for marginalised sporting groups.

This article examines the research project Cross-Marked: Sudanese-Australian Young Women Talk Education, which draws on the varying knowledge of Sudanese students from refugee backgrounds and the principles and practices of ethnocinema which prioritize relationship and mutuality in intercultural collaborations. The seven documentary films which comprise Cross-Marked comment on the complexities of the performance of liminal identities for both researcher and co-participants; and this article explores the visibility and invisibility of Sudanese diasporic women in popular media. Gender, age, race, class and ethnicity intersect as a range of intercultural meetings, where these films both influence and are influenced by an emerging ethnocinema. This article draws from the literature on contemporary ethnographic documentary, including Ruby [(1975)2000], Rouch [2003] and Heider [2006], and seeks to offer new methods for those engaged in 21st-century intercultural collaboration in video, both inside and outside the classroom.