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\ % Korean American Youths' Consumption o f Korea n and Japanes e T V Drama s| an d It s Implication s Jung-Sun฀PAR K฀ The rapid expansion of global capitalism, combined with technologica l development an d th e demis e o f th e Col d Wa r confrontation , ha s fundamentally transforme d th e global landscape. The ways individuals identify themselve s and relate to one another have become much mor e complicated an d multi-facete d a s incessant, massive , fast , an d multi directional flow s o f people, materials an d informatio n acros s border s have tremendousl y increased . Th e growin g mobilit y an d interconnectedness o f the world have challenged th e notion of culture understood a s the shared meanings, values and ways of life o f peopl e who live within bounded territories. Hence, the "assumed isomorphis m of space , place , an d culture " (Gupt a an d Ferguso n 1992 , p . 7 ) i s subverted by the overwhelming trend s of mass migration and cultura l "hybridization," and individuals and groups are interconnected throug h new and more diverse kinds of logic and imagination tha n ever befor e (Hannerz 1992 , 1996 ; Kearney 1994) . At the center of the new interconnections is "electronic capitalism " such as television and cinema (Appadura i 1996 , p. 161). As Appadurai 276฀Jung-Su n฀PARK฀ claims, in the deterritorialized contemporar y world, imagination is one of th e ke y concept s tha t connec t peoples , spaces , an d communitie s (Appadurai 1991) , an d it s connectin g powe r i s mos t effectivel y mediated an d intensifie d b y electronic capitalism . In this vein, just a s print capitalis m lai d th e groundwor k fo r th e formatio n o f a nationa l community throug h a territorially-boun d collectiv e imaginatio n (Anderson 1983) , electroni c capitalis m pave s th e wa y fo r th e construction o f transnationa l communitie s an d relationship s tha t transcend nationa l an d cultura l border s throug h a deterritorialize d collective imagination . Indeed , globa l consumptio n o f medi a image s enables individual s an d group s t o accumulat e share d memorie s an d references tha t ca n lea d the m t o construc t commo n identitie s an d communities wit h other s acros s variou s boundarie s (Morle y an d Robins 1997) . Consequently , divers e kinds o f imagined communitie s based o n share d medi a consumptio n hav e emerged , amon g the m (im)migrants' imagined transnational communities.1 By extensively and almost simultaneously consuming media images and information fro m the "homeland, " mos t contemporar y (im)migrant s maintai n tigh t transnational connection s wit h thei r "homelands " an d eve n becom e integrated into imagined deterritorialized, pan-ethnic communities. At the sam e time , th e medi a informatio n circulate d amon g coethnic s across borders is hybrid i n nature, with multiple cultura l sources an d references: thus , i t create s a ne w possibilit y fo r constructin g mor e complex an d multi-tiere d imagine d communitie s tha t ar e not boun d to a particular locality , ethnicity , o r culture . Therefore , (im)migrants ' imagined transnational communities, which have formed with various scopes, temporalities, an d characteristics , become intriguing site s fo r examining the complicated contemporary transformation o f the global landscape an d th e emergence o f new identities and socia l relations . In discussion s o f cultura l globalization , th e dominan t influenc e of Hollywood has concerned many scholars, resulting in a plethora of literature o n th e overwhelmin g an d homogenizin g powe r o f Western (especially th e Unite d States' ) cultura l influenc e o n non-Wester n cultures and how the local people deal with it (Dorfman an d Mattelar t 1975; Tomlinso n 1991) . Althoug h Wester n cultura l dominanc e i s undeniable, the West also has not been free from cultural globalization. So som e scholar s hav e explore d ho w th e non-Hollywoo d West , i n [3.147.104.248] Project...

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