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  <controlfield tag="003">Buklod</controlfield>
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   <subfield code="a">(iLib)UPD-00398864015</subfield>
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   <subfield code="a">eng</subfield>
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   <subfield code="a">Sablayan, Kristina Marie P.</subfield>
   <subfield code="d">1992-</subfield>
   <subfield code="e">author.</subfield>
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   <subfield code="a">Oppa has no style</subfield>
   <subfield code="b">on K-Pop, the culture industry, and the illusion of style</subfield>
   <subfield code="c">Kristina Marie P. Sablayan; Josefina Santos, adviser.</subfield>
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   <subfield code="c">2013</subfield>
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   <subfield code="a">xiii, 112 leaves</subfield>
   <subfield code="b">illustrations</subfield>
   <subfield code="c">28cm</subfield>
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   <subfield code="a">text</subfield>
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   <subfield code="a">unmediated</subfield>
   <subfield code="2">rdamedia</subfield>
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   <subfield code="a">volume</subfield>
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   <subfield code="a">Vita.</subfield>
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   <subfield code="a">Thesis (A.B. Broadcast Communication)--University of the Philippines Diliman</subfield>
   <subfield code="d">2013.</subfield>
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   <subfield code="a">&quot;The growth of the Korean wave through the popularity of Korean pop music demonstrates how, despite the language barrier, a media product from the 'periphery' has the ability to penetrate the domination of the 'center'. However, the question of its distinction from the 'center', remains to be seen, especially if it admittedly seeks to embody a 'global' style. This study used the critical discourse analysis in viewing Korean pop title songs, and their accompanying music videos, produced by one of Korea's biggest entertainment companies, SM Entertainment. Using the culture industry thesis by Adorno and Horkheimer as well as Adorno's selected essays on pop music, this study identified how the visual and aural aspect of the selected text, and the ideologies associated with it, appropriated elements from the more globally famous Western pop, and exhibited standardization of content. The study sought to identify and analyze how economic and political forces interfacing with one another inform the creation of content. It explored how SM Entertainment, in particular, operates a capital-centered production, geared towards maximizing profits not only within its local music market but also in the global stage. This study also outlined how the Korean government took on a neoliberal approach in supporting the growth of its creative industries. Finally, this study asserts that it may not be Western or Korean culture or standards that inform the production of content, but that of the culture of capital.&quot;</subfield>
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   <subfield code="a">Music</subfield>
   <subfield code="x">Korean influences.</subfield>
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   <subfield code="a">Music</subfield>
   <subfield code="x">Western influences.</subfield>
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   <subfield code="a">Cultural fusion.</subfield>
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   <subfield code="a">Culture and globalization.</subfield>
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   <subfield code="a">Popular culture.</subfield>
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   <subfield code="a">Neoliberalism.</subfield>
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   <subfield code="a">Santos, Josefina</subfield>
   <subfield code="e">adviser.</subfield>
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   <subfield code="a">University of the Philippines Diliman.</subfield>
   <subfield code="b">College of Mass Communication.</subfield>
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   <subfield code="a">FI</subfield>
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   <subfield code="a">UP</subfield>
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   <subfield code="a">UPD</subfield>
   <subfield code="b">DMC</subfield>
   <subfield code="h">LG 993.5 2013</subfield>
   <subfield code="i">M3 S33</subfield>
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   <subfield code="a">Thesis</subfield>
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