By Sun Jung
This booklet investigates the transcultural intake of hybrid South Korean masculinities in modern South Korean pop culture. It specializes in the japanese middle-aged woman fandom of an actor―Bae Yong-Joon (a.k.a. Yonsama)―the center classification Singaporean girl fandom of a pop-star Rain, and the Western on-line cult fandom of a movie, Oldboy.
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Additional info for Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols (TransAsia Screen Cultures Series)
Dae-Soo’s regaining of his humanity by means of consuming this reside octopus could then permit his resistance opposed to Woo-Jin’s equally dehumanized regulate over him. Such an try additionally means that Dae-Soo are able to transgress institutionalized Western norms relating to animal welfare. The Western reaction of outrage in the direction of the dwell octopus scene demonstrates their worry of the transgressive different. even if, once Dae-Soo consumes the stay octopus, he collapses, as were programmed by means of Woo-Jin, as a result hypnotic advice that he had bought. This surprising cave in is important since it means that Dae-Soo fails to revive his humanity; regardless of eating a stay creature, he nonetheless continues to be a computer. His cave in additionally implies that he's not capable of transgress Western norms and ethical values. this is because many Western audience convey the truth that they locate the live-octopus-eating Dae-Soo scary but a laugh. for example, Fritax, from IMDb. com, comments that the scene is “kinda gross yet often humorous. ” one other consumer, Funnyman125, writes that the scene is “done with such unabashed verve that you’ll be as pressured as you're repulsed. ” hence, for Western audience, the live-octopus-eating Dae-Soo is repulsive but harmless. the reason is, his failure at restoring his humanity signifies that he continues to be a machinic and soulless identification who's eventually nonetheless accurately managed and contained through Woo-Jin, an agent of the capitalist approach that's 160 Korean Masculinities and Transcultural intake additionally the process that Western audience thoroughly dwell in. The Western resonation with the live-octopus-eating Dae-Soo is accordingly established upon a techno-Orientalist fable of a transgressive South Korean masculinity which deals the exciting and taboobreaking pleasures of consuming whatever alive yet but is totally risk free. Transgression of Incest ultimately, extra facts of the techno-Orientalist myth of Western audience is their enthusiastic embody of the Oldboy’s illustration of the transgression of incest. Dae-Soo’s transgression reaches its apex within the scene the place he has incestuous intercourse with Mi-Do, who's later published to be his personal daughter. particularly, Dae-Soo’s transgression during this scene is enacted in a dehumanized and machinic demeanour. whilst Dae-Soo and Mi-Do meet at a sushi eating place, they fall in love with one another simply because either one of them were hypnotized to take action. Their falling in love is a part of Woo-Jin’s plan to govern Dae-Soo into having an incestuous dating together with his personal daughter and thereby distinct his revenge. pondering that they've escaped from their tormentors, Dae-Soo and Mi-Do spend an evening in a lodge room. A monitoring shot via a hand held digital camera alongside the red-lit hall in their inn cuts away on to a shot within which Dae-Soo penetrates Mi-Do with none foreplay or discussion. considerably, Dae-Soo’s piston-like activities are machinic. DaeSoo’s machinic sexual demeanour is emphasised by means of the categorical positioning of the 2 fans the place Mi-Do’s putting of her legs on Dae-Soo’s shoulders minimizes actual touch yet maximizes the intensity of genital penetration.