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<p class="MsoNormal" align="center" style="text-align:center;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif">Call for Papers:
<i>Asian Communication Research</i><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif">Special Issue Title:</span></b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif"> Circuits
of K-content: Co-productions, Collaborations, and Connections<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif">Guest editor:</span></b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif"> David C. Oh, Associate
Professor, Syracuse University<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif">Deadline:</span></b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif"> Abstracts (500-word
limit) by September 15, full drafts by December 1, 2025<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">Background:
<o:p></o:p></span></b></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">After the first uses of Hallyu in Chinese newspapers nearly thirty years ago, the metaphor
of a Korean <i>wave</i> has largely been understood as fluid movements that radiate out from South Korea. Research on the Korean Wave has largely operated on this metaphor, whether celebratory or critical. Celebratory accounts in marketing, political science,
or the emergent Hallyu studies have tended to understand the import and interest in K-contents as a sign of soft power and neoliberal economic advantage.
<o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">In some cases, the research has been motivated by a desire to strengthen and extend the
Korean Waves distance, desirability, and duration for the nations political economic advantage. These utilitarian approaches imaged K-contents as tools to extend the nations influence or market position. In other cases, humanistic textual questions considered
ontological questions about K-contents that allowed for its popularity. Borrowing from Shims (2006) foundational application of Bhabhas (1996) postcolonial theory of hybridity, it has been a popular explanation for K-contents stylistic choices, language,
and ideological meanings. In other cases, different waves are constructed into typologies to explain the sociotechnological interactions that shape the contexts, or the waters, in which K-content is experienced.
<o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">Less frequently, a few critical scholars have looked askance at the wave to interrogate
the machinations of geopolitical power. Writing about Japan and Korea, Iwabuchis (2010) theory of brand nationalism warns that the overdetermination of the K or the J hides serious problems such as global media ownership and international intellectual
property regimes. These are ideological and geopolitical projects, which is a concern also raised by Korean Wave scholars who apply subempire, Chens (1999) theory about the complicity and participation by some East Asian countries with the neocolonial,
neoliberal Western order. <o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">What these approaches</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"></span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">celebratory
and critical</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"></span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">have
in common is the assumption of an outward cultural impact. Whether the wave just makes damp or overwhelms like a typhoon, the wave metaphor and its unidirectionality are originating assumptions in much of the textual and production research. It is the purpose
of this special issue to look otherwise and to consider not the question of flows and effects but of connections. Instead of ripples outward, the movement of K-content can be understood as currents within a complex circuit in which the contents of other nations
can travel back through existing pathways and in which interactions change the nature of the current. After two decades of Korean Wave research, it is appropriate to also understand the receiving nations as not only accepting or rejecting Korean media but
actively interacting with it. Although this has been explored in transnational audience research, the existing literature tends to not explore textual or industry questions that center the agency of other nations in which K-contents interact.
<o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">For this reason, the special issue is interested in understanding the mediated connections
and meanings that are produced in co-productions, in metatextual narrative, in remakes and adaptations, and other forms of industry connection. The special issue particularly values new ways of thinking about co-constituted circuits with K-content rather than
the metaphor of the Korean Wave, and, relevant to the journal, it is especially interested in these connections in the Asia-Pacific region. Papers that can humanistically investigate particular cases as well as theorize connections through existing and new
frameworks are especially valued. <o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">Topics might include but are not limited to:
<o:p></o:p></span></p>
<ul style="margin-top:0in" type="disc">
<li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Remakes of K-content or Korean remakes of other nations content
<o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Adaptations of K-content or Korean adaptation of other nations content
<o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Co-production and textual meanings
<o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">The production of co-productions negotiating language, work, culture, distribution, etc.
<o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Industry connections and collaboration
<o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Narratives of inter-Asian connection, e.g.,
<i>Ajoomma</i> <o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Diasporic narratives and documentaries Koreans abroad or diasporas in Korea
<o:p></o:p></span></li><li class="Default" style="color:black;margin-top:0in;line-height:150%;mso-list:l0 level1 lfo1">
<span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;background:white">Film festivals Korean film festivals abroad or Asian-Pacific film festivals in Korea<o:p></o:p></span></li></ul>
<p class="Default" style="margin-top:0in;line-height:150%"><b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></b></p>
<p class="Default" style="margin-top:0in;line-height:150%"><b><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">Submission guidelines:
<o:p></o:p></span></b></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">Interested authors should submit an abstract to David C. Oh at
</span><a href="mailto:dcoh@syr.edu"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:#0070C0;background:white">dcoh@syr.edu</span></a><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">,
the special issue guest editor, by September 15, 2025. Selected abstract authors will be invited to submit their full papers to the
<i>Asian Communication Review </i>for anonymous review. Because papers will undergo anonymous review, an invitation to submit a full paper is not a guarantee of the manuscripts acceptance.
<o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">Submissions should be formatted to APA 7<sup>th</sup> style and will have a word count
of 6,000-8,000 words (all-inclusive). The special issue has an anticipated August 2026 publication date.
<o:p></o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p> </o:p></span></p>
<p class="Default" style="margin-top:0in;line-height:150%"><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">The
<i>Asian Communication Review </i>is the first English-language </span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">academic
</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">journal
</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">in Journalism and Communication Studies
</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">published in South Korea. It is
</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">one of
</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">the official journal</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">s</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white">
of the Korean Society for Journalism and Communication Studies. It is indexed in SCOPUS and KCI (Korean Citation Index).
</span><span style="font-size:11.0pt;line-height:150%;font-family:"Times New Roman",serif;color:black;background:white"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Avenir",sans-serif"><o:p> </o:p></span></p>
<div>
<div>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;mso-ligatures:none">-- <o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt;font-family:"Verdana",sans-serif;color:#D74100;mso-ligatures:none">David C. Oh<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:9.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">Associate Professor | S.I. Newhouse School of Public Communications
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">315.443.4232 |
<a href="mailto:dcoh@syr.edu"><span style="color:#0563C1">dcoh@syr.edu</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Georgia",serif;color:#D74100;mso-ligatures:none">Syracuse University<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none"><o:p> </o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">Korean Pop Culture Beyond Asia: Race & Reception
</span></i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">(U. of Washington Press) | Lead Editor<o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">Navigating White News: Asian American Journalists at Work</span></i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">
(Rutgers U.P.) | Lead Author <o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">Mediating the South Korean Other: Representations and Discourses of Difference in the Post/Neocolonial Nation State</span></i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">
(U of Michigan Press) | Editor <o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">Whitewashing the Movies: Asian Erasure and White Subjectivity in U.S. Film Culture</span></i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">
(Rutgers U.P.)| Author <o:p></o:p></span></p>
</div>
</div>
<p class="MsoNormal"><i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">Second-Generation Korean Americans and Transnational Media: Diasporic Identifications</span></i><span style="font-size:8.0pt;font-family:"Verdana",sans-serif;mso-ligatures:none">
(Lexington Books) | Author </span><o:p></o:p></p>
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