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DC Field | Value | Language |
---|---|---|
dc.contributor.author | Paul Messaris | vi |
dc.date.accessioned | 2024-11-26T08:07:42Z | - |
dc.date.available | 2024-11-26T08:07:42Z | - |
dc.date.issued | 2016 | - |
dc.identifier.citation | Asian Journal of Communication. - 2016. - Vol.26, No.2. - P.194 - 197 | vi |
dc.identifier.uri | http://elib.hcmussh.edu.vn/handle/HCMUSSH/141228 | - |
dc.description.abstract | One of the defining social trends of our times is a steady shift in global power from West to East. In the economic sphere, this trend was documented as early as 2007 by Maddison (2007), whose data demonstrated a continuous increase, over time, in the share of global GDP pro-duced by the economies of East Asia. A parallel development appears to be taking shape in the area of culture, as the world’s media devote increasing amounts of attention to images and sounds originating in East-Asian recording studios and production houses. During the past two decades, the South Korean media industry has been playing a prominent role in this development. The term Hallyu (or Han liu, Korean flow, Korean wave) was coined in the late 1990s by Chinese commentators as a descriptive label for the growing international popularity of South Korean TV series, fiction films, and musical acts. | vi |
dc.language.iso | en | vi |
dc.title | The global impact of South Korean popular culture: Hallyu unbound | vi |
dc.type | Article | vi |
Appears in Collections | Bài trích |
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