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East Asian Modernities and Localized Media and Cultural Studies
Unformatted Document Text:  X\ and cultural industries stimulated such changes. At In the beginning of the 2000s dozens of regional international satellite systems covered the sky of the Asian region. In nearly all the countries cable and satellite television services had already begun. With Star TV beginning its broadcasting from Hong Kong in the 1990s, such American cable channels as CNN1, ESPN, HBO, etc., emerged. (Joseph Chan, 1994; 1996). Secondly, together with the changes of the global market, exchanges within the Asian media and cultural industries have been greatly invigorated. As shown by Sepstrup’s (1989) analysis of Europe and Straubhaar’s (1997) analysis of the global market, the fact that in globalization, instead of America’s industry conquering the world, regional industries gets simultaneously carried was shown similarly in Asia. Chan (1994), Barker (1999), and Hong (1999) showed that in the 1990s the television programs of Asian countries interpenetrate into each other. It is an undisputed fact that a new ‘geo-cultural market’ (Straubhaar, 1997) has emerged in which Japan’s movies, music, and cartoons enter Asia, South Korean movies, music, and drama enter Taiwan and China, and Taiwan’s and Hong Kong’s movies and drama flew in and out of China. Not only the flow of cultural products within the region but also mutual investments and joint ventures have becoming invigorated. A representative case illustration is the Phoenix Satellite Service, which connects China, Taiwan, Hong Kong, and South East Asia. This was created through a joint venture between Star TV, two Hong Kong firms, and a Mainland China firm (Chan, 1996). It is said that in China the viewership of this broadcast has captured the second place. Regarding the question of what kinds of cultural influences such changes of the media and cultural industries have, Western scholars and many Asian academics

Authors: Kang, Myung-Koo.
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X\
and cultural industries stimulated such changes. At In the beginning of the 2000s dozens
of regional international satellite systems covered the sky of the Asian region. In nearly
all the countries cable and satellite television services had already begun. With Star TV
beginning its broadcasting from Hong Kong in the 1990s, such American cable channels
as CNN1, ESPN, HBO, etc., emerged. (Joseph Chan, 1994; 1996).
Secondly, together with the changes of the global market, exchanges within the
Asian media and cultural industries have been greatly invigorated. As shown by
Sepstrup’s (1989) analysis of Europe and Straubhaar’s (1997) analysis of the global
market, the fact that in globalization, instead of America’s industry conquering the
world, regional industries gets simultaneously carried was shown similarly in Asia.
Chan (1994), Barker (1999), and Hong (1999) showed that in the 1990s the television
programs of Asian countries interpenetrate into each other. It is an undisputed fact that a
new ‘geo-cultural market’ (Straubhaar, 1997) has emerged in which Japan’s movies,
music, and cartoons enter Asia, South Korean movies, music, and drama enter Taiwan
and China, and Taiwan’s and Hong Kong’s movies and drama flew in and out of China.
Not only the flow of cultural products within the region but also mutual investments and
joint ventures have becoming invigorated. A representative case illustration is the
Phoenix Satellite Service, which connects China, Taiwan, Hong Kong, and South East
Asia. This was created through a joint venture between Star TV, two Hong Kong firms,
and a Mainland China firm (Chan, 1996). It is said that in China the viewership of this
broadcast has captured the second place.
Regarding the question of what kinds of cultural influences such changes of the
media and cultural industries have, Western scholars and many Asian academics


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