<div dir="ltr">Dear Korean Studies members<div><br></div><div>Monash University Korean Studies Research Hub is proud to present our next talk by <b>Dr. Jiyoon An </b>(Nanyang University, Singapore) next <b>Friday 19th August at 12 pm (AEST).</b> </div><div><br></div><div><p style="box-sizing:inherit;color:rgb(80,80,80);text-align:center"><span style="box-sizing:inherit;font-weight:700"><font face="arial, sans-serif" size="4">Monash University <span class="gmail-il">Korean</span> <span class="gmail-il">Studies</span> Research Hub (MUKSRH) Presents:</font></span></p><p style="box-sizing:inherit;color:rgb(80,80,80);text-align:center"><span style="box-sizing:inherit;font-weight:700"><font face="arial, sans-serif" size="4">Forthcoming events 2022</font></span></p><p style="box-sizing:inherit;color:rgb(80,80,80)"><font face="arial, sans-serif"><span style="box-sizing:inherit;font-weight:700">Seminar 5  </span><span style="background-color:transparent;color:rgb(0,0,0);font-style:italic;font-weight:700;white-space:pre-wrap;text-align:center">The Crash Landing of Crash Landing on You: Amalgamating Korean Cinema’s Blockbuster Tendencies with Television</span></font></p><font face="arial, sans-serif"><br class="gmail-Apple-interchange-newline"></font></div><span id="gmail-docs-internal-guid-def8c35b-7fff-d393-6916-1b17f702b319"><font face="arial, sans-serif"><p dir="ltr" style="line-height:1.295;margin-top:0pt;margin-bottom:8pt"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"><b>Speaker: Dr. Ji-yoon An (Nanyang Technological University’s Wee Kim Wee School of Communication and Information, Singapore.)</b></span></p><b><br></b><p dir="ltr" style="line-height:1.295;margin-top:0pt;margin-bottom:8pt"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"><b>Date: 19th August Friday, 12 pm (AEST)</b></span></p><p dir="ltr" style="line-height:1.295;margin-top:0pt;margin-bottom:8pt"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Venue: Zoom </span></p><p style="line-height:1.295;margin-top:0pt;margin-bottom:8pt"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Register here : </span><span style="background-color:transparent;font-family:"Times New Roman";font-size:14pt;white-space:pre-wrap"><b style=""><u style=""><font color="#0000ff"><a href="https://forms.gle/XSVcDpNP23ECrzBg8">https://forms.gle/XSVcDpNP23ECrzBg8</a></font></u></b></span></p></font></span><div><font face="arial, sans-serif"><b>Abstract: </b></font></div><div><font face="arial, sans-serif"><span id="gmail-docs-internal-guid-765e189e-7fff-a348-818f-3246b0314e0b"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">K-drama has enjoyed unprecedented global recognition in recent years. With the global success of Netflix’s shows such as </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Squid Game</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"> (2021), </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Hellbound</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"> (2021), and </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Sweet Home</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"> (2020), many scholars and journalists alike have commented on how K-drama is moving away from its prototypical sub-genre, the “Cinderella” story (</span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">The Economic Times</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">). During its decades of success across Asia since the first </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">hallyu</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"> wave in the 90s, the definitive genre of K-drama has indeed been the romance “rom-com” genre, with its customary Cinderella arc between one poor and one rich lover. However, with global streaming platforms joining the Korean broadcasting landscape since 2016, it is certainly true that the kinds of shows being produced have diversified. For example, a political period horror-thriller featuring zombies, like </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Kingdom </span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">(2019), would not have found a spot on a domestic outlet. </span></span><span style="background-color:transparent;color:rgb(0,0,0);white-space:pre-wrap">These global platforms have influenced not only the genres being produced, but the scale, budget, and cinematic style of their productions.</span></font></div><div><font face="arial, sans-serif"><span id="gmail-docs-internal-guid-c9139d44-7fff-2e3d-da53-20fa4e168300"><p dir="ltr" style="line-height:1.295;text-indent:36pt;margin-top:0pt;margin-bottom:0pt"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Such diversification has sparked questions about the future of K-drama. Has K-drama finally moved on from its romances and their defining characteristics, such as accidental “skinship” moments, intertwined “meant-to-be” back stories, and its cliff-hanger ending scenes? However, such an observation may be hasty when considering that “conventional” K-dramas have not been absent. One such example would be </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Crash Landing on You</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"> (2019-20). Although not as record-breaking as </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Squid Game</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">, it too garnered a huge support from both within and outside Korea. Through an analysis of </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Crash Landing</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">, this paper will reveal how the conventional K-rom-com has been upgrading its characteristics to suit the post-feminist generation. Moreover, I argue that it has incorporated both narrative and aesthetic tendencies of the Korean blockbuster film in an attempt to expand and develop the K-drama for the global era. Much like the changes underwent by the Korean film industry at the turn of the millennium, </span><span style="color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap">Crash Landing</span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"> utilizes Hollywood-style “spectacle” with a Korean “specialness” to “glocalise” K-drama (Jinhee Choi 2010, Yecies and Shim 2016).</span></p></span><br class="gmail-Apple-interchange-newline"></font></div><div><span><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"><font face="arial, sans-serif"><b>Bio:</b></font></span></span></div><div><span id="gmail-docs-internal-guid-ed4a45b9-7fff-b6a9-544d-ae5daceabf8e"><p dir="ltr" style="line-height:1.295;margin-top:0pt;margin-bottom:0pt"><span style="color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap"><font face="arial, sans-serif">Ji-yoon An is currently a Korea Foundation Visiting Assistant Professor in Korean Studies at Nanyang Technological University’s Wee Kim Wee School of Communication and Information, Singapore. An received her Ph.D. in East Asian Studies from the University of Cambridge, UK, where her doctorate dissertation examined family representations in contemporary Korean cinema. Prior to her current position at NTU, An was a Visiting Assistant Professor in Korean Studies at the University of Tübingen, Germany, for three years. During this time, she was also invited as Acting Professor in Korean Social Sciences at the University of Duisburg-Essen, Germany, for one year.</font></span></p></span></div><div><br></div><div><img src="cid:ii_l6mzgoe90" alt="image.png" width="472" height="314"><br></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><i><font size="4"><br></font></i></div><div>Feel free to contact me on <b><u><a href="mailto:soyeon.kim@monash.edu">soyeon.kim@monash.edu</a></u></b> if you have any questions about the talk.</div><div>Looking forward to seeing you at the seminar. </div><div><br></div><div>Kind regards,</div><div><i><font size="4"><br></font></i></div><div><i><font size="4">Soyeon Kim</font></i><br></div><div dir="ltr"><div><br></div><div>PhD candidate/ Teaching associate </div><div><span style="color:rgb(34,34,34)">Monash University Korean Studies Research Hub (MUKSRH) research </span>assistant  </div><div>School of Languages, Literatures, Cultures and Linguistics</div><div>Monash University</div><div>Clayton, Victoria, 3800</div><div>Australia</div><div><br></div><div>Email: <a href="mailto:Soyeon.Kim@monash.edu" target="_blank">Soyeon.Kim@monash.edu</a></div></div></div></div></div></div>