[Commlist] call for journal papers, “Youth and Globalization”

Call for journal papers


Youth and Globalization (Brill)

https://brill.com/view/journals/yogo/yogo-overview.xml


Vol. 6, Issue 1 (June 2024)

“Cultural production in East Asia and its global journeys”

Guest editor

Marco Pellitteri (Ph.D.), Associate Professor of Media and Communication

Xi’an Jiaotong-Liverpool University | (Marco.Pellitteri /at/ xjtlu.edu.cn)

Timeline

• Paper proposal deadline (title-subtitle, abstract, keywords): 23 June 2023

   The proposal should be sent directly to the guest editor

• Paper submission deadline: 22 December 2023

   Papers should be submitted through the platform:

   https://www.editorialmanager.com/yogo/default1.aspx

• Amended version’s deadline: 22 March 2024

• Publication: June 2024

• No payment from the authors will be required

Aim and scope

This issue of Youth and Globalization is devoted to the cultural 
production in the countries and political denominations of East Asia, 
and the regional and global journeys of such cultural production.

A fascinating process seems to be characterizing some of the current 
dimensions of cultural globalization, one that has, in a recent 
conference hosted at Paris Cité University in December 2022, been called 
“alternative cultural globalization”: that is, the trajectories and 
affirmation of cultural / creative output from East Asian cultural 
contexts to Europe and other areas usually referred to as “the west”, in 
a framework and perspective that are not too distant from what Japanese 
scholar Kōichi Iwabuchi, back in 2002, labelled as a need for 
“recentering globalization”, and Israeli scholar Nissim K. Otmazgin 
studied in 2014 looking at the variety of “regionalizing culture” 
dynamics in Asia. The processes at stake are many and they interest the 
national, intra-regional, and global scopes of the circulation of 
cultural (be it narrative, material, or symbolic) output originating 
from East Asian artistic talent and any kinds of companies in the fields 
of media entertainment and creative industries, as studied in works such 
as Marchetti (2006) on transnational Chinese cinema and Chinese 
directors’ diaspora, Pellitteri (2010, 2021) on Japanese pop-cultural 
imagination and its perceptions in Europe, Fung (ed., 2016) on the 
thriving gaming industry in East Asia, Cicchelli & Octobre (2021) on 
Korean pop and its global reach, Fung & Chik (eds, 2020) on popular 
music in Hong Kong, Verstappen (2021) on Thai comics, or Caschera (2023) 
on Chinese/Sinophone comics, among others.

By cultural production we refer, in fact, to two contiguous but distinct 
sides: one is the vast output stemming from the arts and creative 
industries, the other is the overarching realm of symbolic cultural 
production, which does not necessarily assume quantifiable and material 
manifestations. It is often the case, in effect, that cultural transfer 
and mutual borrowings are the outcome of the international success of 
concrete manifestations of cultural production: it is the cases, for 
example, of forms of comics and animation from Japan that exert a 
symbolic (and not only industrial) impact on the styles of other local 
productions within and outside of Asia; or the aesthetics and strategies 
of South Korean pop music that become a (g/localised) template for other 
national pop music industries in East Asia; the logics of how 
mainland-Chinese high budget cinema, influenced by other intra-regional 
outstanding film industries, enhances those models nationally and with 
stronger firepower; the processes of creolization and crossovers ongoing 
between originally “national” styles of cultural output; and, 
remarkably, the growing presence of artistic and creative work from East 
Asia overseas, beyond the East Asian subregion and with increasing 
economic and cultural impact in the “west(s)”.

In the case of the arts and creative industries, we refer to the 
visual-, sound-, plastic-, and performing arts; music; storytelling 
through the print- and multimedia technologies (literature, comics, 
gaming) and the moving image (live action cinema, animation, 
documentary, television); design; advertising. In the case of symbolic 
cultural production (and reproduction), the framework is that in which 
narratives and representations from places perceived as culturally other 
arrive and linger on different shores, unfolding two processes subjacent 
to understanding and consumption. The first is a fusion between two 
dynamics (the pressure and fascination of East Asian cultural products 
to modify aspects of local culture vs the dynamic of 
creolization/domestication of such cultural elements by local consumers, 
prosumers, reproducers) in what Sahlins once called “the third zone”, 
where “cultural differences are reformulated in political and economic 
practice” (1993: 13); in this regard, Wong (2021: 10-1) suggests 
supplementing this third zone with the concept of a dialogical process, 
where “a dense, complex network of individual and collective subjects 
[...] talk to each other all the time” (Kelly and Kaplan 2010: 423-4), 
to indicate the complexity of political-institutional, cultural-popular, 
artistic-productive, distributive factors and, we would add, subcultural 
and recombinatory practices, which coalesce to develop unrepeatable 
country-to-country impacts with foreign (whether intra- or 
extra-regional) content and their inherent and, to a certain extent, 
ineradicable otherness.

The countries and political denominations alluded to in the first 
paragraph of this cfp are, in alphabetical order, the Democratic 
People’s Republic of North Korea, Hong Kong Sar, Japan, Macau, People’s 
Republic of China, the Philippines, the Republic of Korea, Taiwan, 
Thailand, and Vietnam. The rationale of this list is inclusiveness 
beyond the however extant sensitivity of certain denominations. It also 
and principally stems from the evident reality of forms of cultural 
production in specific areas and denominations that are distinct and 
autonomous from other, neighboring, political entities.

We are interested in the analysis and discussion of both general, 
old/new phenomena and specific case studies; with an either 
(inter/trans)national, intra-regional, or global reach and influence. We 
expect to receive papers dealing with discourses on multimedia 
conglomerates, publishing houses, tv stations, film studios, game 
studios, single artists or works, located in East Asia or native of it.

We are, for the purpose of this special issue, certainly interested in 
prosumption/produsage phenomena and fandom studies, be them based either 
on renown franchises or on nascent grassroots trends. However, we also 
and mainly expect many proposals and a great deal of emphasis on the 
mainstream phenomena of large proportions, with analyses of explanatory 
and (wherever applicable) predictive value on them, and an attention to 
the reception and understanding of those phenomena by the broader 
(national, regional, extra-regional) publics, stakeholders, and 
policy-makers.

Youth and Globalization, and this issue of it as well, invites 
contributions from scholars and researchers at various stages of their 
careers, to promote academic dialogue in ways that can resonate with 
academics, practitioners, policy-makers, and students, as well as the 
general reader. The journal will publish double-blind peer-reviewed 
articles (8000 words), book reviews (up to 1200 words), and 
interviews/conversations (not to exceed 2500 words). Also see the Author 
Instructions.

https://brill.com/fileasset/downloads_products/Author_Instructions/YOGO.pdf)

References

Caschera, M. (2023). Il fumetto cinese. Introduzione ai manhua e ai 
lianhuanhua (‘Chinese comic art. Introduction to manhua and 
lianhuanhua’, in Italian). Latina: Tunué.

Cicchelli, V. & Octobre, S. (2021). The Sociology of Hallyu Pop Culture: 
Surfing the Korean Wave. London: Palgrave.

Fung, A. (ed.) (2016). Global Game Industries and Cultural Policy. 
London: Palgrave Macmillan.

Fung, A. & Chik, A. (eds) (2020). Made in Hong Kong: Studies in Popular 
Music. London: Routledge.

Iwabuchi, K. (2002). Recentering Globalization: Pop Culture and Japanese 
Transnationalism. Durham: Duke University Press.

Kelly, J.D. & Kaplan, M. (2010). “Nation and decolonization: Toward a 
new anthropology of nationalism”. Anthropological Theory, 1 (4), pp. 419-37.

Marchetti, G. (2006). From Tian’anmen to Times Square: Transnational 
China and the Chinese Diaspora on Global Screens. Philadelphia: Temple 
University Press.

Otmazgin, N. (2014). Regionalizing Culture: the Political Economy of 
Japanese Popular Culture in Asia. Honolulu: University of Hawai’i Press.

Pellitteri, M. (2010). The Dragon and the Dazzle: Models, Strategies, 
and Identities of Japanese Imagination—A European Perspective. Latina: 
Tunué.

— (2021). “The European Experience with Japanese Animation, and What It 
Can Reveal on the Transnational Appeal of Anime”. Asian Journal of 
Communication, vol. 31, no. 1, pp. 21-42.

Sahlins, M. (1993). “Goodbye to Tristes Tropes: Ethnography in the 
context of modern world history”. Journal of Modern History, 65 (1), pp. 
1-25.

Verstappen, N. (2021). The Art of Thai Comics: A Century of Strips and 
Stripes. Bangkok: River Books.

Wong, H.-w. (2021). “Introduction”, pp. 1-16, in M. Pellitteri & H.-w. 
Wong (eds), Japanese Animation in Asia: Transnational Industry, 
Audiences, and Success. London: Routledge.


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