Soft Power in Japan and South Korea

Soft Power in japan and South KoreaThe term cushy military group is often used in the discussion of general socialisation. This essay will utilise k right offledge obtained through scholarly enquiry and education in Asian studies to discuss popular burnish as a score of padded federal agency. Firstly, I will provide a summative outline on the theory of dim superpower. Following this I will discuss Japanese and South Korean popular kitchen-gardening and whether they are accordant with the theory of soft power. The thesis of this essay will repugn that soft power is a useful term in relation to the discussion of popular culture.Joseph Nye, who focuses on inter content transaction, developed the theory of soft power in 1990. Nye suggested that power is influencing others to achieve a desire outcome. similarly, the term soft power whitethorn be understood through a states ability to achieve the outcomes it desires by leading as an example for other states1. This conveys t hat soft power is the ability of a nation to attract others to mirror interests consistent with their own. The desired outcomes of soft power vary, however most nations have broad aims for inter subject area stability and consistency, which may prevent or address world(prenominal) and theme issues. For example, the United States has used mediums of soft power to justify actions towards weapons of mass destruction by presenting American culture as attractive through its liberalism, democracy and tender-hearted rights. This conveys that soft power is an intangible resource which uses ideologies, culture and economics to address inter bailiwick issues2. Soft power has been used in contemporary international relations due to the interdependent nature of nations, making direct force costly. For example, a nations militarization incurs political and economic costs, which in return could ignore rather than increase a nations power. Rather, soft power is used in other resources such as multinational corporations, which allow more than leverage of the global system as a whole. Contemporarily, these resources generate more power for nations because of a shift in power structures. Modernization, urbanization and increased colloquy have diffused power from the government to hole-and-corner(a) sectors. The spread of power into the private sphere, in regards to transnational corporations, means that the most powerful form of soft power is popular culture. Ideologies of nations can be imbedded into products and communication. These commodities are introduced to other nations through transnational corporations and private sectors, who market their products to be attractive, consumerable and resultantly, popular.Since the mid twentieth century, Japan has been more and more integral to global popular culture. Central to Japanese exports are manga and anime, the most distinguished forms of Japanese popular culture hence their potential as forms of soft power.Japans out side(a) Exchange Research Programme of 2003, reported the potential for Japanese popular cultures assistance in international diplomacy3. It was theorised that positive national images should be embedded into popular culture mainly through the pre-existing subculture of manga and anime. The reports recommendation was facilitated, and organisations such as the Japan Cartoonist Association were created to avenge artistic innovation. In conjunction with Japans conveyance of its national image, McGray suggests that Japanese popular culture is seemingly egalitarian devoid of perspective and hierarchy4. This suggests that popular culture has effectively used ideologies, in accordance with culture and economics, to embed a positive national image. Therefore, popular culture that embeds national ideologies is a form of soft power.The Japan Cartoonist Association generates most of its interest and revenue from foreign states, which suggests that manga and anime are attractive to other natio ns. Hills argues that its appeal comes from the characters within manga and anime narratives, who are internal and selfless5. For example, Spike, the hero from Cowboy Bebop was not a saint a paradigm of the right morals, or always successful in his ventures. This conveys an opposite to Western ideologies of individualistic heroes, who fight on the right side of justice and always succeed. In accordance, its attraction may be sourced from manga and animes post novelism which allows an take out from modern Western culture. Therefore, popular culture that attracts others, generating international interest and revenue is a form of soft power.Market forces and consumer preferences drive the production and global use of manga and anime6. For example, the production company, Studio Ghibli has been change magnitudely popular in the market due to the international consumer desire for Japanese anime. Otmazgin argues that consumer desire is notably expressed in increasing trade, production and interdependence, with the importance of intra-East Asian trade tripling over the last forty years7. In accordance, corporations and organisations have had increasing influence and power in transnational relations, such as shaping economic relations and improving perspectives of Japanese culture. In accordance, corporations and organisations have had increasing influence and power in transnational relations, such as shaping economic relations and improving perspectives of Japanese culture. Therefore, popular culture that empowers corporations and private sectors leverage over global systems is a form of soft powerPost-war perceptions, such as the Japanese being aggressive or imperialistic, and policies have prevented some of the Japanese states diplomatic aims. Mainly, Japan wishes to pip permanent membership on the UN Security Council8. In conjunction, the Japanese state has realised the potential of popular culture in facilitating the states desired outcome. popular culture has generated economic prosperity, as well as conveying ideologies of a positive, progressive Japan. These resources may be considered effective in disassembling post-war perceptions and regulations. Equally, popular cultures economic success has allowed Japan to become the second largest contributor to the UNs budget, giving leverage over their diplomatic aim. Therefore, as Nye outlines, popular culture that influences a states desired outcome is a form of soft power.In the late 1990s, South Korea was propelled into global popular culture. So obscure was the movement, it has been described as the Korean Wave with popular exports such as Korean films and music. Korean popular culture may be termed as a form of soft power.The Kim Dae Jung administration, in 1998, designated the media and entertainment sectors as a focus for development. In accordance to these political agendas, entertainment based private sectors increased their national significance. For example, the film industry doubled its Korean market share within the year. Central to the recognition of these industries is that they contain heathen content, which can enhance images of Korea. Joo argues that Korea attempts to embed into its cultural exports the idea that Korea is refined, sophisticated and prominent9. This suggests that Korean popular culture uses ideologies, in accordance with culture and economics, to embed a positive national image. Therefore, popular culture that embeds national ideologies is a form of soft power.Korean industries are increasingly obtaining status, interest and revenue from foreign states. Taiwanese television currently pays almost double to impart a Korean drama over a Japanese production. This suggests that Korean popular culture is attractive, which may be due to its balance of traditional and modern cultural values. For example, the Korean drama, Winter Sonata, encapsulates social conservatism, employing traditional morals of being sensitive, gentle and caring, yet presented in a modern environment. In accordance, South Korea provides a model for other conservative Asian states how to modernize and keep traditional values. Therefore, popular culture that attracts and leads as an example for others is a form of soft power.With the bridal of Neo-Liberal approaches in South Korea, power was diffused from the government to private sectors10. Neo-Liberal strategies invoked privatisation and deregulation, which in return allow capitalists to govern systems of production, advertisement and consumption. For example, Korean music is governed by private sectors to be resonant with the Asian youth, which would have previously been stymied by the Korean nationalist government. This conveys that private sectors have more determination in generating what popular culture constitutes, and in conjunction perspectives of Korean last. Therefore, popular culture that empowers corporations and private sectors leverage over global systems is a form of soft po wer.Post-Cold War perceptions of South Korea may be summarised as contemptuous, inferior and economically weak which were supplemented by the Korean financial crisis in the 1990s. Though, the Kim Dae Jung administration realised the potential of popular culture in granting diplomatic power by conveying ideologies of an influential and prominent nation. By creating cultural markets and consumer demand, the state has effectively facilitated their desired outcomes. South Korea now ranks in the bring in 15 market economies, and feelings of affinity towards South Korea have increased unanimously, and by almost double in Japan during the Korean Wave11. Effectively, The South Korea state now constitutes a substantial amount of power, conveying the success of soft power in achieving their diplomatic aims. Therefore, popular culture that influences a states desired outcome is a form of soft power.Japan and South Korea have both provided examples of soft power that is derived from popular cu lture. In Japan, popular culture was able to generate power and influence in their diplomatic aims conveying a positive image of Japan and gaining leverage over permanent membership on the UN Security Council. Similarly in South Korea, popular culture was able to convey a refined, sophisticated and prominent nation in conjunction with facilitating their prominence on the global market. Therefore, soft power is a useful term in relation to the discussion of popular culture.ReferencesEr Lam, Peng, Japans quest for soft power attraction and limitation. East Asia 24, no. 4 (2007) 349-363.Hills, Mat, Transcultural Otaku Japanese representations of fandom and representations of Japan in anime/manga fan cultures. Media in Transition 2, (2002) 1-13.Joo, Jeongsuk, Transnationalization of Korean Popular Culture and the Rise of Pop Nationalism in Korea. The Journal of Popular Culture 44, no. 3 (2011) 489-504.Joseph Nye Explains the Term Soft Power, Educational Film, directed by Allen Greg (Can ada Conversation, 2004).Kaori, Hayashi, and Eun-Jeung Lee, The potential drop of Fandom and the Limits of Soft Power. Social Science Japan Journal 10, no. 2 (2007) 197-216.McGray, Douglas, Japans Gross National Cool. Foreign Policy 130, no. 1 (2002) 44-54.Nakarmura, Toshiya, Soft Power and Public Diplomacy How Cool Japan Will Be. International Studies Association, (2011) 1-26.Nye, Joseph, Soft Power. Foreign policy, (1990).Otmazgin, Nissim, Contesting Soft Power. 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International Studies Association, (2011) 14-15.9 Jeongsuk Joo, Transnationalization of Korean Popular Culture and the Rise of Pop Nationalism in Korea. The Journal of Popular Culture 44, no. 3 (2011) 496.10 Jonghoe Yang, The Korean Wave in East Asia. Development and Society 41, no. 1 (2012) 107.11 Hayashi Kaori and Eun-Jeung Lee, The Potential of Fandom and the Limits of Soft Power. Social Science Japan Journal 10, no. 2 (2007) 213.