While the ancient kingdom of Koguryŏ is commonly understood to be one of the Three Kingdoms of Korea, over the course of the 20th century China has disputed Korea’s claim over Koguryŏ history and...Show moreWhile the ancient kingdom of Koguryŏ is commonly understood to be one of the Three Kingdoms of Korea, over the course of the 20th century China has disputed Korea’s claim over Koguryŏ history and heritage. This paper argues that China, North Korea and South Korea are using the UNESCO World Heritage List to gain the upper hand in the dispute. This paper subsequently asks the question of "How has the UNESCO World Heritage List been used to prove ownership over the ancient cultural heritage of Koguryŏ/Gaogouli by China and Korea since the 20th century?” Using Discourse Analysis as well as Smith’s Authorized Heritage Discourse, the ongoing debate over Koguryŏ is analyzed. This paper also questions UNESCO's role in international disputes over the ownership of heritage and argues that the UNESCO World Heritage List is able to be used by countries for benefits other than the preservation of heritage. The main argument in this paper is that UNESCO's World Heritage List is used as a stage on which ownership over the ancient Koguryŏ/Gaogouli kingdom is publically proclaimed due to UNESCO’s international status as well as other benefits that come from a place on the World Heritage List.Show less
K-pop has gained global recognition on a previously unknown level. K-pop artists are flying out to locations on every continent for events and concerts and are met with legions of adoring fans....Show moreK-pop has gained global recognition on a previously unknown level. K-pop artists are flying out to locations on every continent for events and concerts and are met with legions of adoring fans. Despite the language barrier and culture-difference, these fans feel nothing but understanding and excitement upon interaction with their favourite band. But the rise to the global stage has not been without obstacles. When the eyes of the world are on you, that means one is subjected to a myriad of cultural perspectives, many of which will inevitably clash with your own. In this scenario, cultural faux passes, or worse, are inevitable. Global fans, confronted with these instances, have reacted in various ways, ranging from witch hunts to blind defense. Knowing they have global fans should have made them more aware, is one of the sentiments, whereas another vocal group points out that perhaps cultural differences are to blame. Based on a review of the theory of parasocial interaction by Horton and Wohl (1956), two surveys were conducted. A quantitative survey was conducted among 328 respondents in the period of April 2020 to May 2020. Following the emergence of K-pop as a hot topic during the 2020 Black Lives Matter protests, a list of 15 open-ended questions was distributed in June 2020 among 26 respondents to gain more qualitative commentary to function as contrast and illustration to the survey’s results. Results showed a disconnect between the real-life experiences of the participants of the qualitative survey, and the numerical results of the quantitative survey, with the first suggesting a high level of parasocial attachment, and the latter a negligible level. Most important is the clear outcome that fans demand social action from their idols in return for their emotional labour as fans, as illustrated by the events involving K-pop fans during the 2020 Black Lives Matter protests. Further research is needed to fully reconcile the results, and keep an eye on the development of K-pop and its fandom among social movements.Show less
Casting the Other in a villainous light has been a trend long known in the U.S. entertainment business. Asian villains have been employed since the late 19th century, leading to the birth of the...Show moreCasting the Other in a villainous light has been a trend long known in the U.S. entertainment business. Asian villains have been employed since the late 19th century, leading to the birth of the yellow peril trope in entertainment narratives. More recently a trend of shifting this yellow peril trope from Chinese, Japanese, or any other Asian nationality to North Korean has appeared. Since the late 20th, but mostly 21st, century there has been an increase of North Korean antagonism in entertainment media. This thesis examines this shift and attempts to explain and explore this, including the effects essentialist representations (could) have on the consumer. This is done by analysing 3 films and 2 video games, all dealing with North Korean antagonism as narrative. There are also parallels drawn between the increase of North Korean antagonism in fiction and real politics, as fiction often feeds off of reality to create dramatic storylines.Show less
