Conceptualizing an East Asian popular culture

Automatic Identification of the Sung Language in Popular Music Recordings

“…In addition, it was found (Muthusamy, Jain, and Cole, 1994;Parris and Carey, 1995) that from the spoken-LID point of view, Japanese is confused more often with Mandarin than English. Moreover, as Mandarin and Japanese pop songs are often regarded as East Asian pop music (Chua, 2004), in which songs of one language are often adapted, copied, mixed, and reproduced into songs of another language, the high degree of closeness and influence between Mandarin and Japanese pop songs may also contribute to the bias towards mis-identifying Japanese songs as Mandarin rather than English.…”

Westernizing Southeast Asian Cinema: Co-productions for ‘Transnational’ Markets

“…He argues that this lack of culturally 'distinguishing features' gives Japanese horror films a 'flexibility or adaptability' that allows the films to work so well transnationally (2005, p. 55). Chua (2004) attributes the success of the Japanese horror movie as sparking 'off a string of "horror/ghost" movies from Korea, Hong Kong, Singapore and Thailand' (p. 208) and that 'popular cultural products criss-cross cultural borders everyday in East Asia ' (p. 218). While this rush to produce the next commercially successful Asian horror movie is motivated by box office and economic realities of the film industry, it also reflects a transnational cultural exchange.…”

Gender and everyday evasions: moving with Cantopop1

“…An attempt for an inter-Asian analysis of Cantopop is beyond the scope of this paper, even though such an analysis is urgently needed. Chua's reflection of an 'East Asian popular culture' provides a useful conceptual map for a further analysis that this paper points toward (Chua 2004 Huang 1990). 6.…”