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Globalizing project of the Korean Pop
Korean popular culture had a significant influence on the Asian countries since the year
1990s. The new popular culture is called the Korean wave which was first coined in the year
1999. The culture brings a big hit to Asian countries with Korean TV dramas and pop songs. A
factor that has made Korean music industry to be popular is the quality of Korean entertainment
industry and the pop stars such as Rain. Besides, the Korean entertainment industry and artists
generate high-quality products such as films, TV dramas, pop songs and numerous programs that
attract many people from Asian countries. Shin wrote the globalizing project of the Korean pop
article to show the continued growth of the pop culture. He focused on the pop star Rain, who
endeavored to make inroads in the United States nations during late 2000. Shin scrutinized the
Korean music industry as a background for the project. In his examination, he included why and
how it transforms into flexible star management. Besides, he also looked at how the
transformation made de-nationalized transnational stars. Further, Shin assessed the diverse
reactions from the media and fans to Korean pop star that crossed the border into the various
geo-cultural markets (Shin, 2009). The globalization of the Korean pop is very significance to
people such as Rain because it makes his music popular worldwide. Therefore, the paper
evaluates the effectiveness of Shin argument based on Toulmin method and a respond to his
argument.

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The claim in the article is who will stop the Rain. Shin offers a clear and concise view.
He scrutinized the Korean music industry as a background for the project. His point is worth
arguing as he looked at how the transformation made de-nationalized transnational stars.
Conversely, the author defined his terms. Besides, he makes his audience engage in debates
about the interrelations involving globalization and regionalization of the current Asian
traditional music (Shin, 2009). For example, Korean pop is defined as one component of the
Korean wave. Korean pop is a new player in the complexity and multi-directional traffic of the
Korean cultural industries. Korean pop is different from Asian pop and other genres of Korean
pop culture. Besides, it needs more attention because it has attempted to go beyond the region
and to try to make its way in the U.S market.

Consequently, Shin offers substantial support to his claims. In his article, Shin discussed
three things that associated Asian pop with the global music industry. The first thing is that there
is the existence of Transnational Stardom and Fandom for Korean Pop star that does not reflect
the artistic value in the home country. Hence, because of this reason the regional rely less on
international repertoire and more on local collection. The second thing is Asians star tries to
break through to the global market, and this music culture does not fit the strategy of the global
music industry. The last thing is that popular music does not fully erase the practical efficiency
of the general styles as a marketing category (Shin, 2009). The author also varies with the kind
of the support he offers as he states three things as mentioned above to support his claims. He has
reputable sources for his allegations. His sources are books, journals, concerts, Newspaper, and
websites.

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The author looks at the both sides of the issue. He illustrated it when he discussed the
concept of a global star that cannot be discharged as just media hype. Rain was selected as one of
the Time magazine a hundred people influential individuals in the year 2006. Bryan Walsh article
says that Rain is a symbol of the face of pop globalism because he is a global phenomenon even
though he has not yet made it in the U.S. market. For example, it can be said that judgment of
bad aesthetic quality and evaluation of definite cultural importance go together in the U.S.
mainstream media. Page 512 in the third paragraph where is stated that even though Park had
sufficient cultural capital to become a star he lacked something significant to become a star that
is the good image and incredible charisma. The author is showing both sides of the musician
Park.

Shin qualifies his argument with reasons. For example, he referenced interview of Jimmy
the marketing director of Rain. Jimmy expressed the wish for Rain to break into the U.S. market.
Additionally, the author offers reasonable conditions under which the claim is right as illustrated
above. Besides, no any other reasonable conditions that the author ignores.

The article has a profound relationship with claim and support. Shin states that despite
whether or not Asian pop music can achieve commercial success in the United States music
market. He then says that Asian culture is deepening a global network of culture industries.
Finally, he tells the reader that it is lamentable that Asia has become a market, and Asianness has
become a saleable commodity. Shin presents safe assumptions to the reader as he portrays how
the Asian pop has obtained a global network.

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Shin back his argument with sources. He uses various sources such as magazines, books,
Newspapers, journals, and websites. The authors claims are credible sources as per the
publication requirement (Shin, 2009).

The author was successful in the use of logos. He used to qualify his argument with
reasons. For example, K-pop is associated with the Korean wave thus Rain was globalized Asian
pop. On the other hand, he was not successful in the use of pathos because he did not use
emotions to persuade the audience.

In conclusion, the authors argument swayed my opinion on the globalizing project of the
Korean pop. The Korean wave is a symbol of cultural hybridity. It signifies on the national
identity and appeal to a local group with same wishes and difficulties. It is imperative to note that
pop producers are trying to create a culture that connects the ethnic lines of all the Korean
musicians. They endeavor to connect the generational and class line. Thus, the Korean wave
connects young, middle class and urban Asians. Further, Korean pop culture has become a
globalized phenomenon with entertainment sector. Korean wave success has been facilitated by
the social networking services and websites like YouTube. The majority forms of Korean
entertainment mostly the K-pop have experienced global popularity because of the Korean
creativity.

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Work Cited

Shin Hyunjoon. Have ever seen the Rain and who will stop the Rain: The globalizing project of
the Korean Pop (K-Pop). Inter-Asia cultural studies, vol 10, No. 4, 2009.