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논문 기본 정보
- 자료유형
- 연구보고서
- 저자정보
- 발행연도
- 2005.2
- 수록면
- 66 - 76 (11page)
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초록· 키워드
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Jay Chow, the Taiwan-born singer-song writer, is undeniably the most popular singer in contemporary China in terms of his album sales and the popularity of his pan-China concert. With his genuine fusion of global rap and R&B style, mandarin Iyrics and Chinese folk melody and tune in his song, as well as his bodily outlook embodying elements of hip-hop and Chinese martial arts, he appeals to the new youth generation - who are incubated in conventional Chinese culture but with a modern and global worldview and orientation. However, his position as a Taiwanese singer and as an artist from the transnational foreign music could also become hurdle for his China venture as he market his culture products and promote his concerts in China. This paper, through in depth interviews with the production personnel, Jay’s fans and the related Chinese media, examined how he could successfully market himself as a pan-China artist. The examination of Jay’s cultural strategies of marketing not only sheds light on the political economy of cultural productions in/of China but also helps explicate the consumption of various global and Asian popular culture in China.
Jay Chow or in Chinese Zhou, Jielun, is probably the most popular Chinese singers across Chinese communities. His glittering career was well proven by his sales of record and popularity of concerts across all Chinese communities. In 2004, his album “Qilixiang” excelled in Taiwan, Hong Kong and China. As a Taiwan singer, Jay produced an album with a record of 300,000 sales despite the fact that serious privacy in Taiwan with its industries reduced to 5 to 10 percent of its heyday. In Hong Kong, this album surpassed any local albums locally with a record of 50,000. In China, the official figure reached 2.6 million, a stunning figure that no other Chinese artists could make close. His charismatic vigor, avant-garde image and mercantile potential not only prevail the Chinese societies; even the World Music Award in September 2004, a popular music award second to Grammy Award, held in Las Vegas bestows Jay an honor with the highest record sales in China.
The significance lies in the implication of success of Jay’s marketing for the entire China and even Asia market. Why would a Taiwan-born 25-year-old singe -, without flaunting its connectedness to China or holding a return tag of the West - could culturally and commercially sweep the entire China with his own style, persona and imaginaries, while China politically is perturbed by the independence issue of Taiwan? From a political economy perspective, what kind of cultural strategies that Jay Chow embrace in order to surmount the various political, economic and cultural constraints involved in a China market? Illustrating how Jay Chow meanders these structural limits and political agendas of popular culture which are usually unseen and untold, and by theorizing a framework of representation of how external popular culture could cut across geopolitical spaces and surmounts entry barrier would not only be practically beneficial for other culture products of Asia, including Korean dramas, songs and films, to be marketed and distributed to China. It also sheds light on the ideologies of the evolving Chinese popular culture under a political economy framework.
In a nutshell, this paper explicates the strategic move of how Jay Chow’s music production has wittingly strategized to construct images and products that can locally and nationally assimilated into the Chinese culture and nationally accepted and allowed as a “prototype” of culture products with its political standard authoritatively acknowledged by the state. The study focuses on Jay Chow’s icons and marketing strategies, and his twist from a “foreign” singer to a Chinese artist deprived of its political representation if it has.
Jay Chow or in Chinese Zhou, Jielun, is probably the most popular Chinese singers across Chinese communities. His glittering career was well proven by his sales of record and popularity of concerts across all Chinese communities. In 2004, his album “Qilixiang” excelled in Taiwan, Hong Kong and China. As a Taiwan singer, Jay produced an album with a record of 300,000 sales despite the fact that serious privacy in Taiwan with its industries reduced to 5 to 10 percent of its heyday. In Hong Kong, this album surpassed any local albums locally with a record of 50,000. In China, the official figure reached 2.6 million, a stunning figure that no other Chinese artists could make close. His charismatic vigor, avant-garde image and mercantile potential not only prevail the Chinese societies; even the World Music Award in September 2004, a popular music award second to Grammy Award, held in Las Vegas bestows Jay an honor with the highest record sales in China.
The significance lies in the implication of success of Jay’s marketing for the entire China and even Asia market. Why would a Taiwan-born 25-year-old singe -, without flaunting its connectedness to China or holding a return tag of the West - could culturally and commercially sweep the entire China with his own style, persona and imaginaries, while China politically is perturbed by the independence issue of Taiwan? From a political economy perspective, what kind of cultural strategies that Jay Chow embrace in order to surmount the various political, economic and cultural constraints involved in a China market? Illustrating how Jay Chow meanders these structural limits and political agendas of popular culture which are usually unseen and untold, and by theorizing a framework of representation of how external popular culture could cut across geopolitical spaces and surmounts entry barrier would not only be practically beneficial for other culture products of Asia, including Korean dramas, songs and films, to be marketed and distributed to China. It also sheds light on the ideologies of the evolving Chinese popular culture under a political economy framework.
In a nutshell, this paper explicates the strategic move of how Jay Chow’s music production has wittingly strategized to construct images and products that can locally and nationally assimilated into the Chinese culture and nationally accepted and allowed as a “prototype” of culture products with its political standard authoritatively acknowledged by the state. The study focuses on Jay Chow’s icons and marketing strategies, and his twist from a “foreign” singer to a Chinese artist deprived of its political representation if it has.
목차
Abstract
Politico-economic Strategies as Cultural Production
Popular Culture and State-Market Relationship
Framework of State-market relations and Popular Music
Cool as youth icon
Sinicization of Western Style
Capitalizing Cool culture
The Political Economy of Foreign Culture in China
The Commercial Viability of Foreign Culture
Maintaining the Integrity of Chineseness
Reference
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