國立虎尾科技大學 |

The Making of the Recording Industry in Colonial Korea, 1910-1945.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Making of the Recording Industry in Colonial Korea, 1910-1945./
Author:	Choi, Hye Eun.
Description:	1 online resource (207 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.
Contained By:	Dissertation Abstracts International79-11A(E).
Subject:	History. -
Online resource:	click for full text (PQDT)
ISBN:	9780438094444

The Making of the Recording Industry in Colonial Korea, 1910-1945.
Choi, Hye Eun.

The Making of the Recording Industry in Colonial Korea, 1910-1945. - 1 online resource (207 pages)

Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2018.

Includes bibliographical references

My dissertation explores the birth of the Korean recording industry at the intersection of capitalism, colonialism, and globalized modern sound culture. Through an examination of government, media, and corporate sources, I demonstrate that transnational record companies, rather than Japanese political authority, played the most significant role in the formation of the modern recording industry in colonial Korea (1910--45), as a dynamic part of the Japanese Empire. Using funding, technology, and the master recordings from America, Germany, and other western countries, transnational record companies, such as Nippon Columbia, Nippon Victor and Nippon Polydor, sought profits in both Japan and its colonies, challenging the general assumption that Japanese imperial power acted as the sole mediator of colonial modernity in its colonies. Due to the empire-wide circulation of people, records, and trends across the Japanese metropole and its peripheries, Korea was not just a record market for Koreans but also for foreigners, especially Japanese. Thus, the activities of the record companies helped expose Korean audiences to globally popular recorded music genres almost simultaneously with audiences in the Japanese metropole. Meanwhile, the record companies were also productive sites where Koreans were allowed to manage the production of Korean records. Along with their Japanese counterparts, these professionals produced Korean records in globally influenced yet locally inflected genres, which were consumed across East Asia. I pay close attention to the ways in which sound professionals of various educational backgrounds, ethnicities, genders, and social positions negotiated, competed, and cooperated to earn critical acclaim in their fields and to receive the financial rewards that they desired. My dissertation thus foregrounds individual agency in the achievement of modern sound culture in colonial Korea rather than approaching Korean sound professionals as a monolithic group of colonized subjects. I reveal that these Koreans, with strongly formed identities as modern sound professionals, contributed to shaping the modern sound culture of colonial Korea.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780438094444Subjects--Topical Terms:

669538
History.
Index Terms--Genre/Form:

554714
Electronic books.

The Making of the Recording Industry in Colonial Korea, 1910-1945.
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504 $a Includes bibliographical references
520 $a My dissertation explores the birth of the Korean recording industry at the intersection of capitalism, colonialism, and globalized modern sound culture. Through an examination of government, media, and corporate sources, I demonstrate that transnational record companies, rather than Japanese political authority, played the most significant role in the formation of the modern recording industry in colonial Korea (1910--45), as a dynamic part of the Japanese Empire. Using funding, technology, and the master recordings from America, Germany, and other western countries, transnational record companies, such as Nippon Columbia, Nippon Victor and Nippon Polydor, sought profits in both Japan and its colonies, challenging the general assumption that Japanese imperial power acted as the sole mediator of colonial modernity in its colonies. Due to the empire-wide circulation of people, records, and trends across the Japanese metropole and its peripheries, Korea was not just a record market for Koreans but also for foreigners, especially Japanese. Thus, the activities of the record companies helped expose Korean audiences to globally popular recorded music genres almost simultaneously with audiences in the Japanese metropole. Meanwhile, the record companies were also productive sites where Koreans were allowed to manage the production of Korean records. Along with their Japanese counterparts, these professionals produced Korean records in globally influenced yet locally inflected genres, which were consumed across East Asia. I pay close attention to the ways in which sound professionals of various educational backgrounds, ethnicities, genders, and social positions negotiated, competed, and cooperated to earn critical acclaim in their fields and to receive the financial rewards that they desired. My dissertation thus foregrounds individual agency in the achievement of modern sound culture in colonial Korea rather than approaching Korean sound professionals as a monolithic group of colonized subjects. I reveal that these Koreans, with strongly formed identities as modern sound professionals, contributed to shaping the modern sound culture of colonial Korea.
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