"Reading Asian Television Drama offers an informative overview of East Asian television drama and its cultural impact. It examines both the text and context of TV dramas from such countries as Hong Kong, Taiwan, Japan, China and South Korea. Chapters analyse various internationally popular dramas including South Korean 'hallyu' shows like Jewel in the Palace, Winter Sonata and Wedding. Other chapters focu on Asian TV networks within Asia, as well as Asian global cultural exchange and the international consumption of East-Asian television drama. They also provide full and varied coverage of the major issues relating to contemporary East Asian television and its cultural formation within Asia as well as in the West."--The back cover.

"Reading Asian Television Drama offers an informative overview of East Asian television drama and its cultural impact. It examines both the text and context of TV dramas from such countries as Hong Kong, Taiwan, Japan, China and South Korea. Chapters analyse various internationally popular dramas including South Korean 'hallyu' shows like Jewel in the Palace, Winter Sonata and Wedding. Other chapters focu on Asian TV networks within Asia, as well as Asian global cultural exchange and the international consumption of East-Asian television drama. They also provide full and varied coverage of the major issues relating to contemporary East Asian television and its cultural formation within Asia as well as in the West."--The back cover.

This collection of essays brings together the first comprehensive study of TV drama in China. Examining in depth the production, distribution and consumption of TV drama, the international team of experts demonstrate why it remains the pre-eminent media form in China. The examples are diverse, highlighting the complexity of producing narrative content in a rapidly changing political and social environment. Genres examined include the revisionist Qing drama, historical and contemporary domestic dramas, anti-corruption dramas, "pink" dramas, Red Classics, stories from the Diaspora, and sit-coms. In addition to genres, the collection explores industry dynamics: how TV dramas are marketed and consumed on DVD, and China's aspirations to export its television drama rights. The book provides an international and cross-cultural perspective with chapters on Taiwanese TV drama in China, the impact of South Korean drama, and trans-border production between the Mainland and Hong Kong.

Transnational Korean Television: Cultural Storytelling and Digital Audience provides previously absent analyses of Korean TV dramas’ transnational influences, peculiar production features, distribution, and consumption to enrich the contextual understanding of Korean TV's transcultural mobility. Even as academic discussions about the Korean Wave have heated up, Korean television studies from transnational viewpoints often lack in-depth analysis and overlook the recently extended flow of Korean television beyond Asia. This book illustrates the ecology of Korean television along with the Korean Wave for the past two decades in order to showcase Korean TV dramas’ international mobility and its constant expansion with the different Western television and their audiences. Korean TV dramas’ mobility in crossing borders has been seen in both transnational and transcultural flows, and the book opens up the potential to observe the constant flow of Korean television content in new places, peoples, manners, and platforms around the world. Scholars of media studies, communication, cultural studies, and Asian studies will find this book especially useful.

In the fall of 2015, a collection of faculty at liberal arts colleges began a conversation about the challenges we faced as instructors: Why were there so few course materials accessible to undergraduates and lay readers that reflected current scholarly debate? How can we convey the relevance of studying music history to current and future generations of students? And how might we represent and reflect the myriad, often conflicting perspectives, positions, and identities that make up both music’s history and the writers of history? Here we offer one response to those questions. Open Access Musicology is a collection of essays, written in an accessible style and with a focus on modes of inquiry rather than content coverage. Our authors draw from their experience as scholars but also as teachers. They have been asked to describe why they became musicologists in the first place and how their individual paths led to the topics they explore and the questions they pose. Like most scholarly literature, the essays have all been reviewed by experts in the field. Unlike all scholarly literature, the essays have also been reviewed by students at a variety of institutions for clarity and relevance. These essays are intended for undergraduates, graduate students, and interested readers without any particular expertise. They can be incorporated into courses on a range of topics as standalone readings or used to supplement textbooks. The topics introduce and explore a variety of subjects, practices, and methods but, above all, seek to stimulate classroom discussion on music history’s relevance to performers, listeners, and citizens.

Korean dramas gained popularity across Asia in the late 1990s, and their global fandom continues to grow. Despite cultural differences, non-Asian audiences find "K-dramas" appealing. They range from historical melodrama and romantic comedy to action, horror, sci-fi and thriller. Devotees pursue an immersive fandom, consuming Korean food, fashion and music, learning Korean to better understand their favorite shows, and travelling to Korea for firsthand experiences. This collection of new essays focuses on the cultural impact of K-drama and its fandom, and on the transformation of identities in the context of regional and global dynamics. Contributors discuss such popular series as Boys over Flowers, My Love from the Star and Descendants of the Sun.

The recent transnational reach of Japanese television dramas in East and Southeast Asia is unprecedented, and not simply in terms of the range and scale of diffusion, but also of the intense sympathy many young Asians feel toward the characters in Japanese dramas, so that they cope with their own modern lives by emulating the lives on screen. Through the empirical analysis of how Japanese youth dramas are (re)produced, circulated, regulated, and consumed in East and Southeast Asia, each chapter in this volume variously explores the ways in which intra-Asian cultural flows highlight cultural resonance and asymmetry in the region under the decentering processes of globalization. Key questions include: What is the nature of Japanese cultural power and influence in the region and how is it historically overdetermined? How is it similar to and different from "Americanization" and other Asian cultural sub-centers? What kinds of images and sense of intimacy and distance are perceived through the reception of Japanese youth dramas?