Abstract
The emergence of East Asian Pop Culture as an integrated regional media cultural economy is a result of the penetration of Japanese and Korean pop cultures into the historically well established distribution and exhibition networks of Chinese languages pop culture in locations where ethnic-Chinese constitutes the majority population; namely, Taiwan, Hong Kong, the People’s Republic of China and Singapore. Regionalization has produced transnational and transcultural audience communities of different scale in different reception locations, from those looking merely to be entertained to conventional fan clubs to sub-fan community who translates and subtitles foreign programs for free distribution on the Internet, bypassing state censorship and circuits of profit for the producers. In regional political economy, pop culture has become both a vehicle of transnational collaboration for co-production and market expansion and an instrument of competition in soft power diplomacy, which aims to produce positive sentiments towards the exporting nation among the target audiences. The exporting nation’s achievement in engendering such positive influence is limited by the fragmented nature of the audiences who respond differently to the same products; by backlash from local mobilization against ‘foreign cultural invasion’ in ‘defence’ of the national culture, among the non-consumers in the target location and, finally, by the government of the PRC, the largest consuming country, to control the flow of import, restrict exhibition time and encourage co-production which enables it to shape the content of the co-produced programs.
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