Abstract
ABSTRACT In a potentially volatile policy environment as Mainland China, Korean Wave (hallyu) has penetrated into and continued survival in China through a new pattern of remakes in the context of bilateral tensions. Through a comparative examination of the Korean variety television programme Running Man and its Chinese remake Hurry up, Brothers, as a case study of the remakes, I explore how hallyu has become an amnyu (undercurrent) in the Chinese context. In this article, I conceptualize screen-capitalism to analyse and theorize emergent challenges and possibilities in a global context where collaborations flourish while conflicts remain, arguing for ‘transplantability’ as a rhizomatic quality that allows one screen culture to be connected or plugged into others outside of it, and that can be efficiently compatible with heterogeneous elements—other cultural, political, ideological, and linguistic communities—in diverse modes.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
