@article {ec9efef1c10a4dc4ab7db5f13595af18,
	title = {Hallyu across the Asian Continent: Building New Silk Roads through Popular Culture},
	journal = {Situations},
	volume = {16},
	number = {1},
	year = {2023},
	note = {Publisher Copyright: {\textcopyright} 2023, Yonsei Institute for English Studies. All rights reserved.},
	pages = {111{\textendash}130},
	publisher = {Yonsei Institute for English Studies},
	abstract = {Research on the global diffusion of South Korean popular culture, or Hallyu, is generally characterized by a strong focus on the consumption and practice of Hallyu in different parts of the world and its discursive and cultural meaning. Very few studies, however, have examined the possible geopolitical consequences of the massive transfer of Hallyu-related commodities and practices. Focusing on the circulation of Hallyu in the Middle East, this paper analyzes the mechanisms for cultural spread and its intended and unintended consequences, with particular emphasis on the role of fans and fandom in this process. This paper suggests that the transnational circulation of Hallyu has an impact not only on the institutional aspect of transnational relationships, e.g., the creation of transnational cultural markets and the consequential collaboration between all pertinent parties involved in this process (companies, agents, promoters, distributors, retailers, fans, and others) but also on the dissemination of lifestyle commonalities and concepts, which are based on the experience of consuming the same cultural products by different people in different countries.},
	keywords = {Fandom, geopolitics, Hallyu, Korean wave, soft power, transnational culture},
	issn = {2288-7822},
	doi = {10.22958/situcs.2023.16.1.005},
	author = {Nissim Otmazgin}
}
@article {3c9f87ef681d41a4bae9a5f3b247987b,
	title = {A Taiwanese Soft Power? Contesting Visions of Democracy and Culture},
	journal = {International Journal of Taiwan Studies},
	volume = {20},
	number = {4},
	year = {2022},
	note = {Publisher Copyright: {\textcopyright} 2022 Koninklijke Brill NV, Leiden.},
	publisher = {Brill Academic Publishers},
	abstract = {How do Taiwanese officials view democracy and culture and how do they plan to utilise these two soft power resources as part of advancing the island{\textquoteright}s international position? Based primarily on interviews conducted with state officials in Taiwan, this paper analyses Taiwan{\textquoteright}s soft power repositioning in the regional and global soft power competition and examines its advantages and disadvantages. It discusses the institutional and geopolitical constraints Taiwan faces when trying to implement its soft power policy and addresses the internal disagreements over utilising its cultural and democratic achievements. It concludes that despite the utility of soft power in pursuing its foreign policy agenda, Taiwan faces a few major institutional and conceptual obstacles, keeping Taiwanese diplomacy in a transitional period from old thinking about culture and diplomacy while hesitantly evaluating its soft power resources.},
	keywords = {culture, democracy, East asia, soft power, Taiwan},
	issn = {2468-8797},
	doi = {10.1163/24688800-20221285},
	author = {Nissim Otmazgin}
}
@inbook {6e932359ba9d4633bc0737561f2056c0,
	title = {Cultural industries and the state in East Asia},
	booktitle = {Transnational Convergence of East Asian Pop Culture},
	year = {2021},
	month = {mar},
	pages = {207{\textendash}229},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	isbn = {9780367648985},
	author = {Nissim Otmazgin}
}
@article {fbebee2b65f24dc4b77371fe10925d25,
	title = {An "East Asian" Public Diplomacy? Lessons from Japan, South Korea, and China},
	journal = {Asian Perspective},
	volume = {45},
	number = {3},
	year = {2021},
	note = {Publisher Copyright: {\textcopyright} 2021 Institute for Far Eastern Studies, Kyungnam University},
	pages = {620{\textendash}624},
	publisher = {Lynne Rienner Publishers},
	abstract = {Developed in American and European contexts, public diplomacy theory has found its most receptive audiences in East Asia, expressed in heavy governmental investment in educational and cultural programs meant to foster acceptance and influence within the global community. Examining the state of public diplomacy in Japan, Korea, and China, countries with a strong developmental legacy, globalizing economies, and growing media presence, I analyze the integration of public diplomacy in each country{\textquoteright}s diplomatic efforts, the image they want to project to the world, and the institutional change this move has instigated. While public diplomacy has been taking a central position in this region, the East Asian model of public diplomacy features a mixture of state-led initiatives, an increasing investment of resources, and substantial government intervention.},
	keywords = {China, East asia, Japan, public diplomacy, soft power, South Korea},
	issn = {0258-9184},
	doi = {10.1353/apr.2021.0029},
	author = {Nissim Otmazgin}
}
@article {c4be858427274d3faf1bc6f56069382b,
	title = {Japanese Culture Through Videogames.},
	journal = {Social Science Japan Journal},
	volume = {24},
	number = {1},
	year = {2021},
	pages = {265{\textendash}268},
	publisher = {Oxford University Press},
	abstract = {Chapter 1, focusing on Katamari Damacy (2004), demonstrates the process of packaging Japanese kitsch culture into a global product, while chapters 2 and 3 go deeper to unveil Japan{\textquoteright}s exaggerated self-orientalisation and self-image in the two video game examples of Okami (2006) and Karate Champ (1984). While this book does not fill all the gaps in the literature, especially regarding the structure and organisation of the video game industry, it provides a strong cultural analysis of different Japanese video games from different historical and social contexts. Book Review 267 Downloaded from https://academic.oup.com/ssjj/article/24/1/265/6025113 by 81695661, OUP on 19 March 2021 In summary, Japanese Culture through Videogames is an instructive book that presents a welldetailed cultural analysis of video games.},
	keywords = {culture, Video games},
	issn = {1369-1465},
	doi = {10.1093/ssjj/jyaa044},
	author = {Otmazgin Nissim}
}
@book {ec1bae22813b428390f1b615dca79604,
	title = {Creative Context: creativity and innovation in the media and cultural industries},
	series = {Creative Economy},
	year = {2020},
	publisher = {Springer Singapore},
	organization = {Springer Singapore},
	address = {Singapore},
	keywords = {Cultural Economics, Cultural Policy and Politics, Cultural Theory, Media and Communication},
	isbn = {9789811530555},
	doi = {10.1007/978-981-15-3056-2},
	editor = {Nissim Otmazgin and Eyal Ben-Ari}
}
@inbook {e686825e5dec414099b5cc470091fa50,
	title = {Creative Masses: Amateur Participation and Corporate Success in Japan{\textquoteright}s Media Industries},
	booktitle = {Creative Context},
	series = {Creative Economy},
	year = {2020},
	month = {apr},
	pages = {65{\textendash}82},
	publisher = {Springer Singapore},
	organization = {Springer Singapore},
	address = {Singapore},
	abstract = {Massive commodification and marketing of media culture is not, of course, unique to Japan. Many countries have commodified and industrialized culture to some degree, whether for purposes of entertainment or propaganda.},
	isbn = {9789811530555},
	doi = {10.1007/978-981-15-3056-2_5},
	author = {Nissim Otmazgin},
	editor = {Nissim Otmazgin and Eyal Ben-Ari}
}
@inbook {d25cd5ebaa7040e7a818a2336a0086fc,
	title = {Creativity and Innovation in the Media and Cultural Industries: Setting an Agenda for the Social and Human Sciences},
	booktitle = {Creative Context},
	series = {Creative Economy},
	year = {2020},
	month = {apr},
	pages = {3{\textendash}14},
	publisher = {Springer Singapore},
	organization = {Springer Singapore},
	address = {Singapore},
	abstract = {The term {\textquotedblleft}creativity{\textquotedblright}{\textemdash}and related expressions like originality, imagination, innovation or inspiration{\textemdash}has become a key word in today{\textquoteright}s media and cultural industries. Indeed, the term (frequently in concert with allied notions) is variously used as a guiding organizational principle, a marker of a peculiar form of production, a mobilizing and motivating slogan for employees in workplaces, or a motto differentiating them from other industries. Whatever the veracity of such claims, creativity has become a veritable watchword in media and cultural businesses.},
	isbn = {9789811530555},
	doi = {10.1007/978-981-15-3056-2_1},
	author = {Eyal Ben-Ari and Nissim Otmazgin},
	editor = {Nissim Otmazgin and Eyal Ben-Ari}
}
@article {08465af958d041b495b9a74393db5464,
	title = {State Intervention Does Not Support the Development of the Media Sector: Lessons from Korea and Japan},
	journal = {Global Policy},
	volume = {11},
	number = {S2},
	year = {2020},
	note = {Publisher Copyright: {\textcopyright} 2020 Durham University and John Wiley \& Sons, Ltd},
	month = {jun},
	pages = {40{\textendash}46},
	publisher = {John Wiley and Sons Ltd},
	abstract = {Contemporary media production in East Asia has been booming in recent decades, reaching consumers of various nationalities to an extent unseen before. Concurrently, various collaborations in the production and promotion of movies, TV programs, animation, videogames, music, and the like have intensified and become more effective in delivering cultural content across national borders. The state in East Asia, once considered a custodian of local culture and a censor of foreign influences, has gradually changed its position and now views media production and its export as an integral part of market activity beneficial for both economy and diplomacy. Drawing upon governmental reports and interviews with government officials and media industry personnel in Korea and Japan, this paper examines the way the state reacts to the massive production and export of media culture, its attempt to integrate it within its developmental economic model, and the bureaucratic restructuring this process entails. The central argument presented is that state policy toward the media sector, and the abundance of institutions dealing with this sector in Korea and Japan, are the result of the growth of market-led media production and globalization. In other words, media industry development is not the result of policy, policy is the result of media industry development. In a wider context, this paper aims to better conceptualize the relations between state policy and media production in East Asia and the dynamics of industrial globalization under state guidance.},
	issn = {1758-5880},
	doi = {10.1111/1758-5899.12821},
	author = {Nissim Otmazgin}
}
@inbook {e2dfe0c622354a5584453c0822eaf86e,
	title = {Fan entrepreneurship: Fandom, agency, and the marketing of Hallyu in Israel},
	booktitle = {Transcultural Fandom and the Globalization of Hallyu},
	year = {2019},
	note = {Reprint of: Fan entrepreneurship: Fandom, agency, and the marketing of Hallyu in Israel Otmazgin, N. \& Lyan, I., Feb 2019, In: Kritika Kultura. 32, p. 288-307 20 p.},
	pages = {155{\textendash}179},
	publisher = {Korea University Press},
	organization = {Korea University Press},
	isbn = {9791190205146},
	author = {Nissim Otmazgin and Irina Lyan},
	editor = {Gil-Sung Park and Nissim Otmazgin and Keith Howard}
}
@article {0646cc0a7c9f40e6bc55896e7212b0b8,
	title = {Fan entrepreneurship: Fandom, agency, and the marketing of Hallyu in Israel},
	journal = {Kritika Kultura},
	volume = {2019},
	number = {32},
	year = {2019},
	note = {Publisher Copyright: {\textcopyright} Ateneo de Manila University.},
	pages = {288{\textendash}307},
	publisher = {Ateneo de Manila University},
	abstract = {While the overall majority of Hallyu research has looked at the way fans consume Korean popular culture and how it influences their identity, this paper focuses on the way these fans serve as effective agents for marketing Hallyu and how their fandom empowers them to explore new business and social opportunities. Focusing on what we call {\textquotedblleft}fan entrepreneurship,{\textquotedblright} this paper examines the evolvement of fan communities in Israel and their role as cultural agents transcending different cultural and social contexts. More specifically, it analyzes their role as promoters, distributers, and entrepreneurs of Hallyu. To examine fan entrepreneurship in action, we focus on three cases of Israeli Hallyu fans who have ventured into new fields in business, education, and social activism to conceptualize the relations between fandom, agency, and the transnational marketing of Hallyu. Our findings suggest that the Hallyu experience in Israel may be relevant for understanding the grass-roots processes and mechanisms responsible for the spread and the institutionalization of cultural content across national, ethnic, and linguistic boundaries.},
	keywords = {agency, Entrepreneurship, Fandom, Hallyu, Korean wave in israel, Transnational marketing},
	issn = {1656-152X},
	doi = {10.13185/2987},
	author = {Nissim Otmazgin and Irina Lyan}
}
@inbook {360082b17dce4c9dab9ff00042b380e5,
	title = {Introduction: Fandom Formation and the Globalization of Hallyu},
	booktitle = {Transcultural fandom and the globalization of Hallyu},
	year = {2019},
	month = {nov},
	pages = {11{\textendash}26},
	publisher = {Korea University Press},
	organization = {Korea University Press},
	isbn = {9791190205146},
	author = {Gil-Sung Park and Nissim Otmazgin},
	editor = {Gil-Sung Park and Nissim Otmazgin and Keith Howard}
}
@inbook {a6b526a6541a47158511b56deb012187,
	title = {Preface},
	booktitle = {Transcultural fandom and the globalization of Hallyu},
	year = {2019},
	month = {nov},
	pages = {5{\textendash}10},
	publisher = {Korea University Press},
	organization = {Korea University Press},
	isbn = {9791190205146},
	author = {Gil-Sung Park and Nissim Otmazgin and Keith Howard},
	editor = {Gil-Sung Park and Nissim Otmazgin and Keith Howard}
}
@book {cfcde7cf00084368893c6725abe0c00c,
	title = {Transcultural fandom and the globalization of Hallyu},
	year = {2019},
	month = {nov},
	publisher = {Korea University Press},
	organization = {Korea University Press},
	abstract = {It is of note that many of the available studies of Hallyu take an ethnographic and interpretive approach and show a strong tendency to prioritize analysis of the textual content and images used in Hallyu. But there is a need to take more notice of the networks of production and dissemination, which are responsible for making Hallyu products available to fans. Indeed, understanding Hallyu networks potentially challenges long dominant Euro-American-centric accounts of production and consumption. Hence, this book is part of the attempt to build a comprehensive and interdisciplinary identity for Hallyu studies. It provides an updated account of Hallyu s traffic and acceptance in countries outside Korea s immediate neighbors, and references some of Hallyu s recent developments, notably its alignments with new media fields and with the growth of Korea s interest in cultural diplomacy.},
	isbn = {9791190205146},
	editor = {Gil-Sung Park and Nissim Otmazgin and Keith Howard}
}
@inbook {e2ae6e5ac01041eea6893b7319a76c1b,
	title = {The chrysanthemum and the cool cultural diplomacy and soft power in Japan{\textquoteright}s foreign policy},
	booktitle = {Routledge Handbook of Japanese Foreign Policy},
	year = {2018},
	note = {Publisher Copyright: {\textcopyright} 2018 selection and editorial matter, Mary M. McCarthy; individual chapters, the contributors.},
	month = {jan},
	pages = {55{\textendash}70},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	abstract = {In recent decades, cultural diplomacy and soft power have emerged as a conscious decision by the Japanese government to strategically advance its international position without threatening other countries with the use of force, which is prohibited by the Japanese constitution, and without utilizing its economic might in a way that will make Japan look threatening. This is especially useful in the context of Japan{\textquoteright}s relations with its Asian neighbors, particularly China and South Korea, where {\textquotedblleft}soft{\textquotedblright} diplomacy serves as a way to influence mass opinion in these countries without stressing the already troubled relations, and avoids skirmishes over historical or territorial disputes. As part of this move, the government has become increasingly aware of Japan{\textquoteright}s contemporary cultural appeal and has been attempting to utilize it as part of its charm offensive abroad. This chapter analyzes the changing attitude of the Japanese government toward the role of {\textquotedblleft}culture{\textquotedblright} in the political life of the state and especially in the context of Japan{\textquoteright}s postwar foreign policy: How has Japan used cultural diplomacy to further its geopolitical goals? How did it shape Japan{\textquoteright}s relations with its Asian neighbors? What is the mechanism of utilizing culture to achieve goals in international politics?.},
	isbn = {9781138182103},
	doi = {10.4324/9781315643076},
	author = {Otmazgin, Nissim Kadosh}
}
@inbook {dfc8859e9f6e4d90af18ecaffda8cc42,
	title = {Four dimensions of regionalization: Japanese popular culture in East Asia},
	booktitle = {Routledge Handbook of Cultural and Creative Industries in Asia},
	year = {2018},
	month = {dec},
	pages = {261{\textendash}272},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	isbn = {9781138959927},
	doi = {10.4324/9781315660509},
	author = {Nissim Otmazgin}
}
@book {a3c8f7d95d964d528013137e44d3e7f1,
	title = {The anime boom in the United States: lessons for global creative industries},
	series = {Harvard East Asian monographs},
	year = {2017},
	publisher = {Harvard University Asia Center},
	organization = {Harvard University Asia Center},
	abstract = {"Drawing on in-depth interviews with Japanese and American animation industry professionals, field research, and market surveys, this book investigates the ways anime has been exported to the U.S. since the 1960s, exploring the transnational networks of anime production and marketing while also investigating the cultural and artistic processes it inspired"{\textendash}},
	author = {Michal Daliot-Bul and Nissim Otmazgin}
}
@article {811ccb4b2a3e4de696e520cbcfbaa5a1,
	title = {Expanding Transnational Dialogue in Asia through Hallyu.},
	journal = {Asia-Pacific Journal: Japan Focus},
	volume = {14},
	number = {7},
	year = {2016},
	month = {apr},
	pages = {1{\textendash}6},
	publisher = {Japan Focus},
	abstract = {An introduction is presented in which the editor discusses various articles within the issue including reviews of the book "Good-bye Hallyu" by Kitahara Minori, cultural geography of East Asia and relation of Japan-Korea in global East Asia.},
	keywords = {CULTURAL geography, JAPAN-Korea relations},
	issn = {1557-4660},
	author = {Jooyeon Rhee and Nissim Otmazgin}
}
@inbook {ed0745a6013b4ac3bdb16257535d63cb,
	title = {Introduction: Manga as {\textquotedblleft}Banal Memory{\textquotedblright}},
	booktitle = {Rewriting history in manga},
	year = {2016},
	pages = {1{\textendash}25},
	publisher = {Palgrave Macmillan},
	organization = {Palgrave Macmillan},
	abstract = {In August 17, 2013, the Asahi Shimbun discovered that copies of Hadashi no Gen (Barefoot Gen), an internationally renowned manga about the atomic bombing of Hiroshima, had been pulled out from school library shelves at the city of Matsue in Shimane Prefecture. The city{\textquoteright}s education board decided that children should not be allowed to freely check out Hadashi no Gen at the libraries of public elementary and junior high schools due to graphic descriptions of violence committed by Japanese troops, but teachers could still use them as educational materials. {\textquotedblleft}We are not going to remove the manga because it is an invaluable piece,{\textquotedblright} Furukawa Yasunori, the deputy head of the education board, was quoted as saying. {\textquotedblleft}But we understand that it contains portions that warrant consideration as appropriate reading material for children.{\textquotedblright} According to the article, the board{\textquoteright}s decision stemmed from the complaint of one citizen who said the manga described actions that were never committed by Japanese troops during the war. Nakazawa Misayo, the widow of Hadashi no Gen creator Nakazawa Keiji, expressed dismay over the decision. {\textquotedblleft}It is incredible and I am saddened,{\textquotedblright} said Misayo, 70. {\textquotedblleft}I am afraid that board members do not grasp the tragedy and pain that the war and the atomic bombing brought on us.{\textquotedblright}},
	isbn = {9781137554789},
	doi = {10.1057/978-1-137-55143-6_1},
	author = {Nissim Otmazgin},
	editor = {Nissim Otmazgin and Rebecca Suter}
}
@article {e65e2a84b5ae4af59fea0c045473f681,
	title = {A New Cultural Geography of East Asia: Imagining A {\textquoteright}Region{\textquoteright} through Popular Culture.},
	journal = {Asia-Pacific Journal: Japan Focus},
	volume = {14},
	number = {7},
	year = {2016},
	pages = {1{\textendash}12},
	publisher = {Japan Focus},
	abstract = {The article focuses on a study which reveals the role of popular culture by shaping the East Asian region by creating transnational markets for cultural commodities and disseminating communalities of lifestyles and concepts. It informs that East Asia experiences cultural renaissance, economic growth and urban consumerism. It also informs about the issues related to the impact of trade, finance, industry and technology on creating an integrated region in East Asia.},
	keywords = {CONSUMERISM, East asia, Economic development, LIFESTYLES, POPULAR culture, Technology},
	issn = {1557-4660},
	author = {Nissim Otmazgin}
}
@book {f19ba70cef9640f19deca79bd775fa25,
	title = {Rewriting history in manga: stories for the nation},
	series = {East Asian popular culture},
	year = {2016},
	note = {Includes index. Unlimited users.},
	publisher = {Palgrave Macmillan},
	organization = {Palgrave Macmillan},
	abstract = {This book analyzes the role of manga (Japanese comics) within contemporary Japanese public discourse, and explores its role in propagating new perceptions regarding Japanese history. Through the analysis of a variety of cases studies ranging from nineteenth century magazines to contemporary online comics and fandom, it focuses on the representations and interpretations of history in manga, and clarifies this medium{\textquoteright}s interrelation with historical memory and political debate. Stories for the Nation delineates alternative modes of historical memory and expression as they are manifested and contested in manga, and argues for manga{\textquoteright}s potential to influence the historical and political views of wide audiences in Japan.},
	doi = {10.1057/978-1-137-55143-6},
	editor = {Nissim Otmazgin and Rebecca Suter}
}
@inbook {24efcd1c086a4aa997ea2d4b24374843,
	title = {Soft powering popular culture: Discourse and policy making in Japan{\textquoteright}s content industries},
	booktitle = {Social Commentary on State and Society in Modern Japan},
	year = {2016},
	note = {Publisher Copyright: {\textcopyright} Springer Nature Singapore Pte Ltd. 2016. All rights are reserved.},
	month = {jan},
	pages = {141{\textendash}153},
	publisher = {Springer Singapore},
	organization = {Springer Singapore},
	address = {Singapore},
	abstract = {Over the past two decades, Japanese popular culture has reached consumers of other countries in a variety and scale unseen before. As any lecturer in Japanese studies in any part of the work can testify, anime and manga is what brings students into class, and not the economy or Japanese managerial systems, as it used to be the 1980s. One of the interesting aspects of this unexpected aspect of Japan{\textquoteright}s internationalization is a growing discourse in Japan about the new opportunities created by the globalization of Japanese popular culture. While some emphasize the economic benefits of cultural exports as a new source for revenues and as a way to upgrade the economy, others point to the diplomatic advantages of popular culture as a way to boost the country{\textquoteright}s image abroad and attain "soft power". The Japanese government, for its part, has been increasingly interested in this sector and is gradually placing popular culture production and export on its agenda. In such context, this chapter examines the way the globalization of popular culture has been treated in domestic discourse in Japan and analyzes the way it is being bureaucratized and utilized by the state.},
	keywords = {Anime boom, Cool Japan, GLOBALIZATION, POPULAR culture, soft power},
	isbn = {9789811023941},
	doi = {10.1007/978-981-10-2395-8_9},
	author = {Nissim Otmazgin}
}
@article {fb17bbeeceb94308aeb44f10df756376,
	title = {Special Issue: Hallyu: The Korean Wave and Asia},
	journal = {Asia-Pacific Journal: Japan Focus},
	volume = {14},
	number = {7},
	year = {2016},
	publisher = {Japan Focus},
	issn = {1557-4660},
	author = {Jooyeon Rhee and Nissim Otmazgin}
}
@inbook {290c56b976ab4193a649ecaa49274ffb,
	title = {Americanization and Democratization: Cultural Aspects of Japanese Democracy},
	booktitle = {Japan{\textquoteright}s multilayered democracy},
	series = {New studies of modern Japan},
	year = {2015},
	pages = {145{\textendash}158},
	publisher = {Lexington Books},
	organization = {Lexington Books},
	isbn = {9781498502221},
	author = {Nissim Otmazgin},
	editor = {Ben-Rafael Galanti, Sigal and Alon Levkowitz and Nissim Otmazgin}
}
@book {37461d6a36a2440d9ed37df0f75f060b,
	title = {Japan{\textquoteright}s multilayered democracy},
	series = {New studies of modern Japan},
	year = {2015},
	note = {Description based upon print version of record.},
	publisher = {Lexington Books},
	organization = {Lexington Books},
	abstract = {This book introduces a multilayered approach to the study of democracy, combining specific knowledge of Japan with theoretical insights from the literature on democratization. It examines different aspects of Japanese democracy{\textendash}historical, institutional, and sociocultural{\textendash}to provide a conscious understanding of the nature and practice of democracy, both in Japan and beyond. The book{\textquoteright}s chapters give testimony to the dynamic nature and continuity of Japanese democracy and analyze its strengths and weaknesses. The central argument of this book is that Japan{\textquoteright}s democratization should be seen as a multilayered experience shaped by the gradual process of absorbing democratic ideas, forming democratic institutions, and practicing democratic behaviors and rituals at various levels of society. As the case of Japan shows, democracy is neither a structured formula nor only a set of democratic laws and institutions, but a continuous, gradual process.{\textendash}},
	isbn = {9781498502221},
	editor = {Galanti, Sigal Ben-Rafael and Alon Levkowitz and Nissim Otmazgin}
}
@inbook {f0b123a641e64c1389fd8e432aeb0a87,
	title = {Popular Culture Regionalization in East Asia and What This Means to Japan},
	booktitle = {Japan viewed from interdisciplinary perspectives},
	series = {New studies of modern Japan},
	year = {2015},
	pages = {135{\textendash}147},
	publisher = {Lexington Books},
	organization = {Lexington Books},
	isbn = {9781498500227},
	author = {Nissim Otmazgin},
	editor = {Yoneyuki Sugita}
}
@inbook {d7fe7abc71984a1a95093b72e5b0b77e,
	title = {Struggling to stay relevant: The impact of the new media on asia{\textquoteright}s cultural industries},
	booktitle = {Routledge Handbook of New Media in Asia},
	year = {2015},
	note = {Publisher Copyright: {\textcopyright} 2016 selection and editorial material, Larissa Hjorth and Olivia Khoo.},
	month = {jan},
	pages = {80{\textendash}90},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	abstract = {East Asia1 over the last three decades has experienced a cultural renaissance rooted in the growth of its economies and booming urban consumerism, which is manifested in its massive circulation of contemporary popular culture and media-related commodities such as movies, pop music, animation, comics, television programs, and fashion magazines, as well as their derivative products such as games, food, toys, accessories, etc. The confluence of Chinese, Japanese, and Korean popular cultures, in particular, has intensified in recent decades reaching consumers of different national and linguistic boundaries, as well as inspiring a variety of transnational collaborations and co-productions involving creative personnel and companies from different parts of East Asia (Fung 2013; Lent and Fitzsimmons 2012; Otmazgin and Ben-Ari 2013). Some of these industries have formed alliances with international distributors and promoters and their products have sometimes circulated outside the East Asian region, particularly in Europe and North America (Jin and Otmazgin 2014, 47-48).},
	isbn = {9781138026001},
	doi = {10.4324/9781315774626-14},
	author = {Nissim Otmazgin}
}
@article {65f539f34c374153a51e84ef20107b3c,
	title = {Anime in the US: The entrepreneurial dimensions of globalized culture},
	journal = {Pacific Affairs},
	volume = {87},
	number = {1},
	year = {2014},
	note = {Funding Information: This research is supported by the National Cancer Institute (1 P01 CA 42710), California Breast Cancer Research Program (9PB-0117), and the UCLA Center for Human Nutrition.},
	pages = {53{\textendash}69},
	publisher = {University of British Columbia},
	abstract = {In the past two decades, the enthusiastic global reception of Japanese cultural exports has drawn wide academic attention. In the case of Japanese animation ("anime"), its penetration into the United States, the world{\textquoteright}s biggest media market, has been described as owing greatly to the crucial role of fans as cultural agents, the deterritorializing effects of globalization, the domestication and heavy editing of anime to suit local tastes, and being part of the wider global flow of Japanese pop culture and "soft power." Drawing on interviews with Japanese and American key personnel in the anime industry, field research and market surveys, this paper focuses on the organizational aspect of the anime market in the United States since the mid-1990s, with particular attention to the role of entrepreneurs, who are imperative for bridging organizational rigidities and cultural differences in global markets. The key argument presented is that entrepreneurship is a central feature in the process of transnational penetration, distribution, reproduction and consumption of cultural commodities and genres, which produce ever more complex and disjunctive economic, cultural and political orders.},
	keywords = {Anime, Entrepreneurship, Japan, Market, Pop culture, United States},
	issn = {0030-851X},
	doi = {10.5509/201487153},
	author = {Nissim Otmazgin}
}
@article {0f59c7d1e2644962810eb6772f44c1c9,
	title = {Hallyu across the desert: K-pop fandom in Israel and Palestine},
	journal = {Cross-Currents},
	volume = {3 i},
	year = {2014},
	pages = {32{\textendash}55},
	publisher = {University of Hawaii Press},
	issn = {2158-9666},
	doi = {10.1353/ach.2014.0008},
	author = {Nissim Otmazgin and Irina Lyan}
}
@article {fc55dda2045948a69b32ba0e91b5ed1a,
	title = {Introduction: East Asian cultural industries: Policies, strategies and trajectories},
	journal = {Pacific Affairs},
	volume = {87},
	number = {1},
	year = {2014},
	pages = {43{\textendash}51},
	publisher = {University of British Columbia},
	abstract = {This special section is to explore several key issues related to the development in three of the biggest East Asian cultural industries, namely in China, Japan and South Korea. It addresses a few important dimensions of change that merit analysis: the emergence of East Asian cultural industries in terms of growths in scale and exports; the transnationalization of production and distribution; the relaxation of foreign ownership restraints; and changing relations between the cultural industries and the state. The attempt is to conceptualize the relations between the cultural industries and cultural policy; draw insights from critical media studies and cultural policy studies; and explore what it means for policy makers when culture and creativity move from the margins to the centre of economic activity.},
	keywords = {cultural industries, Cultural policies, East asia, Neo-liberal globalization},
	issn = {0030-851X},
	doi = {10.5509/201487143},
	author = {Jin, Dal Yong and Nissim Otmazgin}
}
@inbook {4b8707d271c642b5bca59d1546c3d543,
	title = {Popular culture and multiculturalism in East Asia: Market-led visions of incorporating diversity?},
	booktitle = {Worlding Multiculturalisms},
	year = {2014},
	pages = {77{\textendash}90},
	publisher = {Taylor and Francis Inc.},
	organization = {Taylor and Francis Inc.},
	address = {United States},
	isbn = {9781138781177},
	doi = {10.4324/9781315770192},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@inbook {40b904647a6f408e98cfa6af942003ee,
	title = {Popular Culture and Political Psychology: Lessons from Asia},
	booktitle = {Culture and Political Psychology},
	series = {Advances in cultural psychology: constructing human development},
	year = {2014},
	pages = {207{\textendash}223},
	publisher = {Information Age Publishing Inc.},
	organization = {Information Age Publishing Inc.},
	address = {United States},
	isbn = {9781623963682},
	author = {Otmazgin, Nissim Kadosh},
	editor = {Thalia Magioglou}
}
@article {687af15a24ca4265814dfbcb9b5a9cad,
	title = {A regional gateway: Japanese popular culture in Hong Kong, 1990-2005},
	journal = {Inter-Asia Cultural Studies},
	volume = {15},
	number = {2},
	year = {2014},
	month = {apr},
	pages = {323{\textendash}335},
	publisher = {Taylor and Francis Ltd.},
	abstract = {In popular culture, Hong Kong is probably the most "Japanese city" outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong{\textquoteright}s emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan{\textquoteright}s cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.},
	keywords = {cultural industries, East asia, Hong Kong, Japan, POPULAR culture},
	issn = {1464-9373},
	doi = {10.1080/14649373.2014.918700},
	author = {Nissim Otmazgin}
}
@book {54bac32115204d9fa11f97ff7ecbe8f0,
	title = {Regionalizing culture: The political economy of Japanese popular culture in Asia},
	year = {2014},
	note = {Publisher Copyright: {\textcopyright} 2014 University of Hawai{\textquoteright}i Press. All rights reserved.},
	month = {jan},
	publisher = {University of Hawaii Press},
	organization = {University of Hawaii Press},
	address = {United States},
	abstract = {This ambitious work provides a comprehensive, empirically grounded study of the production, circulation, and reception of Japanese popular culture in Asia. While many studies typically employ an interactive approach that focuses on the {\textquotedblleft}meaning{\textquotedblright} of popular culture from an anthropological or cultural studies point of view, Regionalizing Culture emphasizes that the consumption side and contextual meaning of popular culture are not the only salient factors in accounting for the proliferation of popular cultural products-the production side and organizational aspects are also important. In addition to presenting individual case studies, the book offers a big-picture view of the dramatic changes that have taken place in popular culture production and circulation in Asia over the past two decades. The author has gleaned information from primary sources in Japanese, English, and other languages; research visits to Japan, Hong Kong, Singapore, Shanghai, Bangkok, and Seoul; as well as insights of people with firsthand knowledge from within the cultural industries. From this broad range of source, he develops an integrative political economic approach to popular culture. Regionalizing Culture offers a dialectical look at the organization of cultural production, primarily at the structure and control of cultural industries, interconnections between companies and production networks, and relations between the business sector and the state. It traces the rise of Japan as a popular culture powerhouse and the expansion of its cultural industries into Asian markets. It looks as well at the creation of markets for Japanese cultural commodities since the late 1980s, the industrial and normative impact that Japanese cultural industries have on the structure of the local cultural industries, and the wider implications these processes have for the Asian region. The growing popularity and importance of Japan{\textquoteright}s popular culture will make this book a basic text for scholars and students of popular culture as well as for those interested in political economy, media and communication studies, Japanese-Asian relations, Asian studies, and international relations.},
	isbn = {9780824836948},
	author = {Otmazgin, Nissim Kadosh}
}
@inbook {cd13c345ff9449df85f58dbb85a2ecfc,
	title = {Cultural industries and the state in East and Southeast Asia},
	booktitle = {Popular Culture and the State in East and Southeast Asia},
	year = {2013},
	note = {Publisher Copyright: {\textcopyright} 2012 Nissim Otmazgin and Eyal Ben-Ari for selection and editorial matter.},
	month = {jan},
	pages = {3{\textendash}26},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	abstract = {This volume examines the relations between cultural industries and the state in East and Southeast Asia (hereafter {\textquotedblleft}East Asia{\textquotedblright}), comprising mainly the urban centers and middle classes of Taiwan, South Korea, Japan, Singapore, Indonesia, Malaysia, China, Thailand, Vietnam, and the Philippines. We analyze the emergence of new cultural industries throughout East Asia by looking at the processes by which popular culture is produced, distributed and consumed, with particular attention to the role of states in these processes.},
	isbn = {9780415679695},
	doi = {10.4324/9780203801536-7},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@article {203f7af445c04275b3702997e7592a24,
	title = {Meta-narratives of Japanese popular culture and of Japan in different regional contexts: perspectives from East Asia, Western Europe, and the Middle East},
	journal = {Regionines studijos / Regional Studies},
	volume = {7},
	year = {2013},
	pages = {83{\textendash}94},
	abstract = {The purpose of this study is to conceptualize the relationship between the transnational dissemination and consumption of popular culture and state image through a focus on the acceptance of Japanese popular culture in different regional contexts. Specifically, this research builds on the work of surveys conducted in East Asia, Western Europe, and the Middle East comprising: 1) a questionnaire survey conducted among undergraduate university students in Seoul, Hong Kong, and Bangkok; 2) an online questionnaire survey conducted among manga fans in their 20s in France, Germany, and Italy; and 3) an ethnographic study and in-depth interviews conducted among fans of Japanese pop culture in Israel. Rather than comparing these three surveys in detail, the purpose of this study is to examine the meta-narratives they offer in relation to the way popular culture shapes Japan{\textquoteright}s image in the world.},
	keywords = {cultural consumption, Japan, POPULAR culture, state image},
	issn = {2029-2074},
	author = {Nissim Otmazgin}
}
@book {2c4ace33c15e497fbf7e6cd7dda2e8c6,
	title = {Popular Culture and the State in East and Southeast Asia},
	year = {2013},
	note = {Publisher Copyright: {\textcopyright} 2012 Nissim Otmazgin and Eyal Ben-Ari for selection and editorial matter.},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	abstract = {This volume examines the relations between popular culture production and export and the state in East and Southeast Asia including the urban centres and middle-classes of Taiwan, South Korea, Japan, Singapore, Indonesia, Malaysia, China, Thailand, and the Philippines. It addresses the shift in official thinking toward the role of popular culture in the political life of states brought about by the massive circulation of cultural commodities and the possibilities for attaining {\textquoteleft}soft power{\textquoteright}. In contrast to earlier studies, this volume pays particular attention to the role of states and cross-state cultural interactions in these processes. It is the first major attempt to look at these issues comparatively and to provide an important corrective to the limitations of existing scholarship on popular culture in Asia that have usually neglected its political aspects. As part of this move, the essays in this volume suggest a widening of disciplinary perspectives. Hitherto, the preponderance of relevant studies has been in cultural and media fields, anthropology or history. Here the contributors explicitly draw on other disciplinary perspectives - political science and international relations, political economy, law, and policy studies - to explore the complex interrelationships between the state, politics and economies, and popular culture. This book will be of interest to students and scholars of Asian culture, society and politics, the sociology of culture, political science and media studies.},
	isbn = {9780415679695},
	doi = {10.4324/9780203801536},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@inbook {7ba9a51aa5cf4901ab2d5c4aa67a2f4f,
	title = {Preface},
	booktitle = {Popular Culture and the State in East and Southeast Asia},
	year = {2013},
	month = {jan},
	pages = {xxi{\textendash}xxii},
	publisher = {Taylor and Francis},
	organization = {Taylor and Francis},
	isbn = {9780415679695},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@article {562c8c1412c94446abfbde11a2461ca9,
	title = {Geopolitics and soft power: Japan{\textquoteright}s cultural policy and cultural diplomacy in Asia},
	journal = {Asia-Pacific Review},
	volume = {19},
	number = {1},
	year = {2012},
	note = {Funding Information: In actual terms, the state{\textquoteright}s support for cultural promotion overseas contains a wide range of uncoordinated initiatives involving no fewer than 13 governmental ministries and agencies. The most prominent are MOFA, the Japan Foundation, the Agency of Culture (under the auspices of the Monkasho{\textasciimacron}), the Prime Minister{\textquoteright}s Cabinet (PMC), and the Ministry of Economy, Trade and Industry (METI). However, as in other fields when different governmental ministries and agencies are involved, there is routine competition over resources, overlapping responsibilities, lack of coordination, and struggle over prestige. The terminology used by different ministries also varies. MOFA advocates supporting {\textquotedblleft}pop culture diplomacy,{\textquotedblright} METI talks about supporting the {\textquotedblleft}content industry{\textquotedblright} (the ministry defines any cultural and artistic work with commercial value as content), and the PMC states that it wishes to promote Japanese {\textquotedblleft}life culture{\textquotedblright} abroad by introducing Japanese cuisine, fashion, and Japanese brand names to foreigners (Zykas 2011: 155-157; 163-66).},
	pages = {37{\textendash}61},
	publisher = {Routledge},
	abstract = {Japan{\textquoteright}s cultural policy and cultural diplomacy in Asia has changed dramatically over the past one hundred years, from actively introducing and imposing Japanese culture during its empire-building period, to essentially avoiding the promotion of Japanese culture in Asia for most of the postwar period due to fears of being seen once again as engaged in cultural imperialism, and more recently, to supporting and encouraging the export of Japanese contemporary culture and lifestyle in order to attain "soft power." Looking at the fluctuations in Japan{\textquoteright}s cultural policy over these three periods allows us to understand how Japan has used cultural policy to further its geopolitical goals and more basically how it has viewed the role of "culture" in the context of its relations with Asian neighbors. In a broader sense, the Japanese experience shows that cultural policy, even when inward-looking, is not isolated from a country{\textquoteright}s geopolitical position and its ambitions in the world, regardless of the political system under which it operates.},
	issn = {1343-9006},
	doi = {10.1080/13439006.2012.678629},
	author = {Otmazgin, Nissim Kadosh}
}
@inbook {305229e880a949a5851dc5c008c476dd,
	title = {Introduction: History and theory in the study of cultural collaboration},
	booktitle = {Popular Culture Co-production and Collaborations in East and Southeast Asia},
	year = {2012},
	note = {Publisher Copyright: {\textcopyright} 2013 NUS Press All rights reserved.},
	pages = {1{\textendash}25},
	publisher = {NUS Press Pte Ltd},
	organization = {NUS Press Pte Ltd},
	abstract = {Let us begin with four pictures: first, a multinational action movie being financed by producers from Hong Kong and filmed in Mainland China, Taiwan, Malaysia or Thailand; second, a housewife from the Philippines watching a Korean family drama on TV; third, a group of Indonesian fans translating a Japanese comic book into Bahasa; and fourth, Kitty-Chan chopsticks being sold in Singapore. What kinds of order or orders (or disorders) underlie these popular culture productions and products? Who are the agents that produced them and how do their actions involve cross border collaboration?.},
	isbn = {9789971696009},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@conference {ad34bbcd26b74d32a796a78dc42ed00a,
	title = {Introduction to Special Issue: Japanese Studies in Israel as a Micro-Cosmos of Japanese Studies in Other Part of the World},
	year = {2012},
	note = {Conference Proceeding 2012 vol. 1 Conference held at the Hebrew University, May 7-9},
	pages = {1{\textendash}6},
	author = {Helena Grinshpun and Shalmit Bejarano and Nissim Otmazgin}
}
@article {cd4a26cf89334e48b6967d4fbb5be810,
	title = {Japan imagined: popular culture, soft power, and Japan{\textquoteright}s changing image in Northeast and Southeast Asia*},
	journal = {Contemporary Japan},
	volume = {24},
	number = {1},
	year = {2012},
	note = {Publisher Copyright: {\textcopyright} 2012, {\textcopyright} 2012 Walter de Gruyter.},
	month = {mar},
	pages = {1{\textendash}19},
	publisher = {Taylor and Francis Ltd.},
	abstract = {Over the past two decades, Japan{\textquoteright}s popular culture has been massively disseminated and consumed throughout Northeast and Southeast Asia. A wide range of products, such as music, animation, comics, television programs, fashion magazines, and movies, have been endorsed by local popular culture markets and now constitute an integral part of the cultural lives of many young people in this region. These products not only introduce a multitude of consumption options, but also have an impact on the way young urban consumers imagine and think about Japan. This paper examines the extent to which popular culture can change the perception of a country abroad. Based on questionnaire surveys conducted with university students from Hong Kong, Bangkok, and Seoul, it focuses on the appreciation shown to Japan{\textquoteright}s popular culture, and how it shapes young people{\textquoteright}s image of the country. The central argument presented is that exposure to Japanese popular culture disseminates new, favorable images, which modify the way the country is perceived. These images arouse feelings of affinity and a sense of proximity, but unlike the {\textquotedblleft}soft power{\textquotedblright} argument, they are generational, implicit, inconsistent, and subject to different interpretations. As such, the practicality of generating state power in terms of authority or control is doubtful.},
	keywords = {cultural consumption, image formation, Japan, POPULAR culture},
	issn = {1869-2729},
	doi = {10.1515/cj-2012-0001},
	author = {Nissim Otmazgin}
}
@conference {3f560a0c8d8b4d9fa46185e61045678b,
	title = {Japanese Studies in Israel as a Micro-Cosmos of Japanese Studies in Other Part of the World: lectures delivered at the Israel-Japan Symposium},
	year = {2012},
	note = {Conference Proceeding 2012 vol. 1 Conference held at the Hebrew University, May 7-9},
	author = {Helena Grinshpun and Shalmit Bejarano and Nissim Otmazgin}
}
@inbook {ed72d9509f5d46ffb739559da7b45bb6,
	title = {Popular culture and regionalization in East and Southeast Asia},
	booktitle = {Popular Culture Co-production and Collaborations in East and Southeast Asia},
	year = {2012},
	note = {Publisher Copyright: {\textcopyright} 2013 NUS Press All rights reserved.},
	pages = {29{\textendash}51},
	publisher = {NUS Press Pte Ltd},
	organization = {NUS Press Pte Ltd},
	abstract = {Throughout most of the twentieth century, Asia was a relatively divided continent.1 In terms of regional formation, the term "Asia" itself was not much more than a matter of nomenclature, which merely indicated the continent{\textquoteright}s geographic location. Previous attempts to promote solidarity among Asians did take place,2 but those seemed to have been futile or stagnant at best. However, in the last two decades, areas within Asia are increasingly being "pushed" towards each other. A new international maneuvering away from the American and Soviet Union dominated Cold War era politics, together with the ever-evolving political and economic integrating forces, provided the right incentives for this region{\textquoteright}s governments and markets to come closer together. In addition, ideas and ambitious possibilities regarding the emergence of some sort of "Asian region" and sub-regions in Asia have been repeatedly mentioned and discussed.3 During the period following the financial crisis of 1998, the necessity of cooperating in order to maintain political-economic stability was further realized. At the beginning of the twenty-first century, "Asia" and subregions within Asia have become more closely integrated within the last half-century than ever before. This continues despite an obvious lack of formal regional institutionalization and an emphasis on the informal, negotiated, and inclusive approach in regional policy.4 Regions in Asia might even now possess a few common, regionally shared characteristics.},
	isbn = {9789971696009},
	author = {Nissim Otmazgin}
}
@inbook {bd03ad80f9664e5684f198abf4fee81b,
	title = {Popular Culture Co-Productions and Collaborations in East and Southeast Asia},
	booktitle = {Popular Culture Co-production and Collaborations in East and Southeast Asia},
	volume = {9789971696252},
	year = {2012},
	note = {Publisher Copyright: {\textcopyright} 2013 NUS Press All rights reserved.},
	pages = {1{\textendash}276},
	publisher = {NUS Press Pte Ltd},
	organization = {NUS Press Pte Ltd},
	abstract = {In recent years, popular culture production in East and Southeast Asia has undergone major changes with the emergence of a system that organizes and relocates production, distribution, and consumption of cultural goods on a regional scale. Freed from the constraints associated with autonomous national economies, popular culture has acquired a transnational character and caters to multinational audiences. Using insights drawn from a number of academic disciplines, the authors in this wide-ranging volume consider the implications of a region-wide appropriation of cultural formulas and styles in the production of movies, music, comics, and animation. They also investigate the regional economics of transcultural production, considering cultural imaginaries in the context of intensive regional circulation of cultural goods and images. Where scholarship on popular culture conventionally explores the "meaning" of texts, Popular Culture Co-productions and Collaborations in East and Southeast Asia draws on empirical studies of the culture industries of Japan, Korea, China, the Philippines and Indonesia, and use a regional framework to analyze the consequences of co-production and collaboration.},
	isbn = {9789971696009},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@inbook {67350cf2dbc3408bbacc46ea5ef1fd9e,
	title = {Preface},
	booktitle = {Popular Culture Co-production and Collaborations in East and Southeast Asia},
	volume = {9789971696252},
	year = {2012},
	pages = {ix{\textendash}x},
	publisher = {NUS Press Pte Ltd},
	organization = {NUS Press Pte Ltd},
	isbn = {9789971696009},
	doi = {10.2307/j.ctv1nthhp.4},
	author = {Nissim Otmazgin and Eyal Ben-Ari}
}
@article {41ec73646c624008a841f06d8357d404,
	title = {China and the Global Politics of Regionalization - Edited by Emilian Kavalski.},
	journal = {Asian Politics and Policy},
	volume = {3},
	number = {1},
	year = {2011},
	pages = {142{\textendash}145},
	publisher = {Wiley-Blackwell},
	abstract = {The article reviews the book "China and the Global Politics of Regionalization," edited by Emilian Kavalski.},
	keywords = {2002-, CHINA \& the Global Politics of Regionalization (Book), CHINESE politics \& government, Emilian, KAVALSKI, NONFICTION},
	issn = {1943-0779},
	doi = {10.1111/j.1943-0787.2010.01245.x},
	author = {Otmazgin, Nissim Kadosh}
}
@article {3cc19acd65db476d9d5510689be8d6f5,
	title = {Commodifying Asian-ness: Entrepreneurship and the making of East Asian popular culture},
	journal = {Media, Culture and Society},
	volume = {33},
	number = {2},
	year = {2011},
	month = {mar},
	pages = {259{\textendash}274},
	publisher = {SAGE Publications Ltd},
	abstract = {This article examines the linkage between entrepreneurship and the making of popular culture in East Asia. The central argument presented here is that the notion of entrepreneurship is central for understanding and conceptualizing the process of constructing trans-national markets for popular culture and for building new circles of {\textquoteright}Asian{\textquoteright} recognition. In other words, entrepreneurial vision is not only transforming the local cultural markets by underpinning a region-wide cultural production system but also un-intentionally spurring feelings of {\textquoteright}Asian{\textquoteright} sameness. The study itself focuses on four cases of entrepreneurship which exemplify the driving forces and the intended and unintended consequences of entrepreneurship, and outlines the wider theoretical and methodological implications for this concept by defining the relations between structural determinism and human agency in popular culture.},
	keywords = {Asianness, commodities, East asia, Entrepreneurship, Market, POPULAR culture},
	issn = {0163-4437},
	doi = {10.1177/0163443710393386},
	author = {Otmazgin, Nissim Kadosh}
}
@article {2555825012fa42138e19370ed9cfe30d,
	title = {Does popular culture matter to the Southeast Asian region?: possible implications and methodological challenges},
	journal = {Newsletter: Center for Southeast Asian Studies (CSEAS)},
	volume = {64},
	year = {2011},
	pages = {7{\textendash}10},
	publisher = {Center for Southeast Asian Studies, Kyoto University},
	issn = {2185-663X},
	author = {Nissim Otmazgin}
}
@article {3cf098918b264297b62415080ebd2905,
	title = {A tail that wags the dog? Cultural industry and cultural policy in Japan and South Korea},
	journal = {Journal of Comparative Policy Analysis: Research and Practice},
	volume = {13},
	number = {3},
	year = {2011},
	note = {Funding Information: The Korean government has specifically targeted the game industry with the intention of making Korea the world{\textquoteright}s leading country in this field. The launch of the site dubbed {\textquoteleft}{\textquoteleft}Global Test-bed{\textquoteright}{\textquoteright} came as the result of a 1 billion won investment project aimed at promoting Korean-made online games to gamers and internet users abroad and assisting Korean game producers to advance to international markets (South Korea{\textquoteright}s Ministry of Information and Communication 2006). The South Korean authorities have also been investing in developing the country{\textquoteright}s animation industry. In May 2006 the 10th Seoul International Cartoon and Animation Festival was held. The festival, the largest of its kind in Asia, featured more than 1,200 cartoons and animation from 53 countries. It was sponsored by the Seoul Metropolitan Government, pledging a contribution of 1 billion (US$1.07 million) a year until 2012 (The Korea Herald, May 15, 2006).},
	month = {jun},
	pages = {307{\textendash}325},
	publisher = {Routledge},
	abstract = {How is a policy initiated and implemented toward a newly arising industrial sector? This paper addresses that question by looking at the way the Japanese and the South Korean governments respond to the massive production and export of pop culture. The investigation focuses on the emergence of the local cultural industries, the policy issues they raise, and the domestic discourse they initiate. The central argument of this paper is that these governments no longer perceive the cultural industries in only ideological terms, but following the success of the private sector, they have recently shifted their attention to the economic benefits derived from the commodification of culture. However, their efforts to foster the pop culture sector heavily emphasize investment in infrastructure as a part of a developmental-state strategy. This attitude is too rigid to accommodate the dynamism of the cultural industries and should be supplemented with a more nuanced approach that considers the distinctive structure and the organization of the cultural industries.},
	issn = {1387-6988},
	doi = {10.1080/13876988.2011.565916},
	author = {Nissim Otmazgin}
}
@article {f7eca15bb78f483e8fbab9a78d1e2de9,
	title = {Contesting soft power: Japanese popular culture in East and Southeast Asia},
	journal = {International Relations of the Asia-Pacific},
	volume = {8},
	number = {1},
	year = {2008},
	month = {jan},
	pages = {73{\textendash}101},
	publisher = {Oxford University Press},
	abstract = {During the last two decades, Japanese popular culture industries have massively penetrated East Asia{\textquoteright}s markets and their products have been widely disseminated and consumed. In this region, Japan has recently emerged as a cultural power, in addition to representing an industrial forerunner and model. The aim of this article is to explore the connection between popular culture and soft power by analyzing the activities of the Japanese popular culture industries in East Asia, and by examining the images their products disseminates. This study is based on export data, market surveys, and interviews with media industry personnel and consumers in five cities in East Asia, arguing that the impact of the Japanese popular culture lies in shaping this region{\textquoteright}s cultural markets and in disseminating new images of Japan, but not in exerting local influence or in creating Japanese-dominated {\textquoteright}spheres of influence{\textquoteright}.},
	issn = {1470-482X},
	doi = {10.1093/irap/lcm009},
	author = {Otmazgin, Nissim Kadosh}
}
@article {9a2a6dbab93045b5a9f9767b2dacc1b9,
	title = {Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm?},
	journal = {Asia-Pacific Journal: Japan Focus},
	volume = {6},
	number = {2},
	year = {2008},
	pages = {1{\textendash}12},
	publisher = {Japan Focus},
	abstract = {The article proposes a regional paradigm for analyzing the dissemination of culture throughout East and Southeast Asia, including Japanese popular culture. Not only does it seek to capture the expansion of popular culture into several national markets, but it provides a topology of East and Southeast Asia{\textquoteright}s cultural flows by highlighting the region{\textquoteright}s geopolitical, economic, and societal densities and specificities. It argues that it is essential to view the regional not only as a process which facilitates cultural flows across national boundaries or as a manifestation of global-local relations, but as an analytical unit containing particular characteristics which differentiate it from other regions and localities caught up in globalization.},
	keywords = {CULTURE \& globalization, CULTURE diffusion, geopolitics, Japan, POLITICS \& culture, POPULAR culture},
	issn = {1557-4660},
	author = {Otmazgin, Nissim Kadosh}
}
@inbook {ee0a7c1b4d6e49be8251d4ab6cf61e33,
	title = {When Culture Meets the Market: Japanese Popular Culture Industries and the Regionalization of East and Southeast Asia},
	booktitle = {The rise of middle classes in Southeast Asia},
	series = {Kyoto area studies on Asia},
	year = {2008},
	pages = {257{\textendash}281},
	publisher = {Trans Pacific Press},
	organization = {Trans Pacific Press},
	isbn = {9781920901172},
	author = {Nissim Otmazgin},
	editor = {Takashi Shiraishi and Pasuk Phongpaichit}
}
@article {0956d07eef30498bbc36159834df0415,
	title = {Budaya Populer Jepang di Asia Timur and Tenggara: Saatnya untuk Sebuah Paradikma Regional?},
	journal = {Kyoto Review of Southeast Asia},
	volume = {8-9},
	year = {2007},
	note = {Also appeared in English under the title: Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm?},
	author = {Otmazgin, Nissim Kadosh}
}
@article {47bc07925bae4c83b0e52f75eb5ed48c,
	title = {Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm?},
	journal = {Kyoto Review of Southeast Asia},
	volume = {8-9},
	year = {2007},
	note = {Also appeared in Indonesian under the title: Budaya Populer Jepang di Asia Timur and Tenggara: Saatnya untuk Sebuah Paradikma Regional?},
	author = {Otmazgin, Nissim Kadosh}
}
@article {68d17e95b4dd471daf3eb90c2737feb6,
	title = {Cultural commodities and regionalization in East Asia},
	journal = {Contemporary Southeast Asia},
	volume = {27},
	number = {3},
	year = {2005},
	note = {Publisher Copyright: {\textcopyright} 2005, ISEAS - Yusof Ishak Institute. All rights reserved.},
	pages = {499{\textendash}523},
	publisher = {ISEAS - Yusof Ishak Institute},
	abstract = {In order to characterize and explain regional formation processes, theories in the field of international relations have focused primarily on political and economic parameters that were drawn from experiences in Western Europe. In East Asia, however, it is often mentioned that "regional dynamism" and cross-border economic activities, rather than formal agreements between governments, or shared historical or cultural "Asian" background generates the formation of the region. This article, however, examines the role popular culture plays in shaping and regionalizing East Asia. It focuses on the process by which confluences of culture have diffused throughout East Asian markets in the decades surrounding the 1990s and the concurrent formation of regional media alliances. An attempt is made to go beyond state-centric explanations of regionalization and extend the cultural approach to regionalization, demonstrating how popular culture can affect regional formation.},
	issn = {0129-797X},
	author = {Otmazgin, Nissim Kadosh}
}
@article {09d8198b41974091adb0db3b09ff6518,
	title = {Japanese Government Support for Cultural Exports},
	journal = {Kyoto Review of Southeast Asia},
	volume = {4},
	year = {2003},
	author = {Nissim Otmazgin}
}
