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Comment by La Via della Seta 5 hours ago

愛墾學術：Netflix的在地文化策略

Netflix透過委託製作在地原創內容以滿足本地與全球觀眾、調整平台功能以迎合區域用戶偏好，並與當地創作者及產業合作以促進多元市場的成長。此策略有助於吸引特定消費族群並鞏固用戶忠誠度，但同時也引發對智慧財產權控制以及在地製作環境可能受制於全球串流巨頭偏好的憂慮。

文化整合策略

在地內容製作：Netflix製作以當地語言呈現、擁有多元演員與故事線的原創電影與影集，以貼近區域觀眾。例如巴西影集《3%》，或韓國影集《魷魚遊戲》。

與在地人才與產業合作：公司與本地製作公司合作、挖掘地方故事、培養在地人才，開發具有高出口潛力的內容。這類做法類似於泰國借鑑韓國文化戰略的方式。

平台在地化：Netflix 調整其使用者介面、功能與推薦演算法，以支援當地語言、支付方式及內容偏好。

對在地文化的影響

為本地創作者帶來的機會：外國平台提供必要的資金，使創作者能製作原本因國內資金有限而難以達成的大規模作品。

在地內容的全球能見度：Netflix 促進了國家媒體內容的全球流通，為本地製作提供了獲得國際讚譽與認可的途徑。（愛墾網根据網絡材料整理）

Comment by La Via della Seta on Tuesday

愛墾主張：校園霸凌與「錯失恐懼」（FOMO）的心理互動關係～～隨著數位媒介滲透青少年生活，校園霸凌已經不僅是校園空間中的身體或語言攻擊，更呈現跨越虛實邊界的複合樣貌。與此同時，「錯失恐懼」（Fear of Missing Out, FOMO）逐漸成為描述青少年社交焦慮的核心概念。

本文從心理學與文化研究的角度，探討校園霸凌與 FOMO 之間的相互作用：FOMO 如何放大被霸凌者的孤立感，霸凌者如何利用 FOMO 作為權力工具，以及旁觀者如何因 FOMO 而選擇沉默。最後，本文提出教育與心理干預的建議，強調若要有效預防霸凌，必須同時考慮青少年在數位環境中的 FOMO 壓力。

一、引言

校園霸凌（school bullying）長期以來是教育心理學與發展心理學的重要議題。其核心特徵是行為的持續性、權力不對等與意圖性的傷害（Olweus, 1993）。過去研究多集中於霸凌的形式（肢體、語言、社交排斥）與後果（焦慮、憂鬱、自尊受損），然而隨著社交媒體普及，青少年的社交生態發生了質變。

同時，心理學界也注意到「錯失恐懼」（FOMO）的普遍性。Przybylski 等人（2013）將 FOMO 定義為：一種源於害怕錯過他人正在經歷的有價值經驗而產生的焦慮，尤其與社交媒體的使用密切相關。對青少年的心理發展而言，FOMO 與身份建構、同儕歸屬感息息相關。

本文嘗試把這兩個領域對話起來：校園霸凌是否與 FOMO 形成互相強化的關係？若答案是肯定的，那麼防治霸凌的策略也必須納入對 FOMO 的理解。

二、FOMO 與青少年心理發展

青少年期是同儕關係最為敏感的階段。Erikson 的心理社會發展理論指出，此期的核心任務是「身份認同對角色混淆」。同儕群體不僅是社交網絡，更是認同感與價值感的來源。

在此脈絡下，FOMO 不僅是表層的焦慮，而是青少年在認同建構過程中面臨的持續威脅：如果我缺席，是否就失去存在感？

研究顯示，FOMO 與青少年的高頻社交媒體使用、睡眠不足、憂鬱症狀顯著相關（Baker et al., 2016; Hunt et al., 2018）。它構成了一種「心理放大鏡」，使個體對社交排除格外敏感。

三、霸凌與 FOMO 的交織

受害者的 FOMO 強化效應：被霸凌的學生往往已經面臨同儕孤立。當他們在社交媒體上看到同學們的合照、聚會資訊，卻沒有自己的身影時，FOMO 被加劇，形成「二次傷害」：不僅在校園裡受排斥，連虛擬空間也印證了缺席。這種雙重孤立容易導致長期焦慮與抑鬱。

霸凌者對 FOMO 的策略性操控：部分霸凌行為並非直接攻擊，而是透過「刻意排除」來操控 FOMO。例如：

• 不將特定同學加入群聊；
• 在公開平台曬出「只邀部分人」的聚會；
• 透過嘲笑「缺席者」來強化群體邊界。

這種行為讓受害者的 FOMO 成為霸凌工具，權力不對等因此更加鞏固。

旁觀者的沉默與 FOMO：霸凌研究強調旁觀者角色的重要性（Salmivalli, 2010）。然而，旁觀者往往選擇沉默。原因之一是 FOMO：如果公開反對霸凌，他們可能被視為「異類」並被排除出群體。為了避免錯失「在群體中的位置」，他們選擇服從沉默，間接維護了霸凌結構。

Comment by La Via della Seta on August 23, 2025 at 9:32am

四、心理後果與文化意涵

心理健康風險：受害者的長期FOMO會帶來：

• 慢性焦慮與孤獨感；
• 自尊心受損與社交退縮；
• 憂鬱傾向與自傷行為。

這些後果與傳統霸凌的效應相疊加，造成心理健康的雙重威脅。

青少年文化的兩難

值得注意的是，FOMO 與另一種「及時行樂」文化相互矛盾：一方面青少年渴望「隨時參與」（Fear of Missing Out），另一方面他們又習慣用「來都來了」的態度自我安慰。這種矛盾正反映了後現代青少年文化的張力：渴望被認同，但又害怕失敗與被忽略。

五、干預與預防策略

媒體素養教育：提升學生對社交媒體「選擇性呈現」的認知，幫助他們理解「缺席」並不代表價值低落，減輕 FOMO 焦慮。

更新反霸凌政策：學校的反霸凌策略應涵蓋數位行為。建立舉報機制，將「刻意排除」與「網絡排擠」納入正式定義。

強化同儕支持文化：鼓勵學生建立互助群體，並賦權旁觀者，減少因 FOMO 而被迫沉默的情況。研究指出，「旁觀者介入」是減少霸凌的重要途徑（Polanin et al., 2012）。

心理輔導與家庭角色：提供受害者心理支持，並教育家長理解社交媒體對孩子心理健康的影響。家庭的情感支持可緩衝 FOMO 對心理的衝擊。

六、結論

校園霸凌與 FOMO 並非兩個獨立現象，而是數位時代下相互交織的心理與文化結構。霸凌加劇了受害者的 FOMO，而 FOMO 反過來又使得霸凌更難被挑戰。若要有效防治校園霸凌，必須將青少年在數位空間的心理需求與焦慮納入考量，將教育、政策與心理干預結合，才能真正減少霸凌的發生與影響。

參考文獻

Baker, Z. G., Krieger, H., & LeRoy, A. S. (2016). Fear of missing out: Relationships with depression, mindfulness, and physical symptoms. Translational Issues in Psychological Science, 2(3), 275–282.

Hunt, M. G., Marx, R., Lipson, C., & Young, J. (2018). No more FOMO: Limiting social media decreases loneliness and depression. Journal of Social and Clinical Psychology, 37(10), 751–768.

Olweus, D. (1993). Bullying at school: What we know and what we can do. Oxford: Blackwell.

Polanin, J. R., Espelage, D. L., & Pigott, T. D. (2012). A meta-analysis of school-based bullying prevention programs' effects on bystander intervention behavior. School Psychology Review, 41(1), 47–65.

Przybylski, A. K., Murayama, K., DeHaan, C. R., & Gladwell, V. (2013). Motivational, emotional, and behavioral correlates of fear of missing out. Computers in Human Behavior, 29(4), 1841–1848.

Salmivalli, C. (2010). Bullying and the peer group: A review. Aggression and Violent Behavior, 15(2), 112–120.

延續閱讀：盤點11部「校園霸凌」韓劇

Comment by La Via della Seta on August 17, 2025 at 10:07pm

愛墾APP:《玻璃之心》：當日劇邂逅搖滾童話

在 2025 年的夏天，Netflix 日劇《玻璃之心》（Glass Heart）成為日本影視圈的話題之作。它的火熱並非單純來自劇情本身，而是因為這部作品完成了一次難得的「跨界實驗」——將影像、音樂與偶像產業緊密結合，創造出一個虛實難分的娛樂現象。

劇情與氛圍：華麗卻略顯輕盈

《玻璃之心》的故事圍繞著樂團成員的成長、掙扎與愛情糾葛。評論者普遍讚賞本劇的視覺質感與音樂氛圍，華麗的舞台、細膩的鏡頭語言，以及動人的歌曲，構成一種「沉浸式」的觀賞體驗。美國《Collider》甚至形容它「如同一場旋律與影像交織的夢境」。

然而，也有批評指出，雖然外觀包裝華美，劇情卻有些過度童話化。《日本時報》（The Japan Times）給予兩星評價，認為作品缺乏真正搖滾故事應有的粗獷與野性，像是一場「過度打磨的搖滾童話」。但即便如此，演員的表演仍獲得正面肯定。

音樂的力量：虛構樂團的真實出道

真正令《玻璃之心》突破日劇框架的，是劇中樂團 TENBLANK在現實世界的「出道」。專輯《Glass Heart》登上日本 Apple Music 專輯榜首，主題曲《旋律與結晶》更在 Spotify「Viral Top 50」日本、台灣、香港同時奪冠。這種由戲劇直接衍生音樂市場效應的現象，在日本電視史上並不多見。

樂團的火熱讓劇集的影響力遠超出影像本身。粉絲們不僅在線上為角色與演員狂熱留言，還推動了現實中的粉絲見面會與亞洲巡演。從橫濱到台北、首爾、曼谷，這個原本只存在於螢幕上的樂團，正在用現實舞台證明自己的存在。

日本國內反應：熱度與爭議並存

在日本國內，《玻璃之心》上線首週便奪下 Netflix 劇集榜第一名，並登上全球非英語劇榜單第八。年輕觀眾對劇中的音樂元素尤其熱烈，社交平台上充斥著「聽藤谷的歌聲入眠」、「朱音太棒了」等即時回饋。

另一方面，專業評論界則呈現兩極：有人讚賞其企圖心與高水準製作，也有人質疑它更像一場「行銷實驗」而非真正的藝術創作。但不可否認的是，這種將戲劇與音樂產業深度結合的做法，成功吸引了跨國觀眾的目光。

結語

《玻璃之心》並不是一部完美的日劇，但它展示了日本娛樂產業在全球串流時代的一種新可能：當戲劇不再只是一個故事，而是能牽動音樂榜單、演唱會與粉絲文化時，它便突破了傳統影像作品的邊界。這種「虛實融合」的娛樂模式，或許才是真正的 Glass Heart——脆弱卻璀璨，易碎卻能折射出最耀眼的光。

參考資料

* The First Times, 《TENBLANK、アルバム「Glass Heart」がApple Music総合1位に》, 2025.08
* note.com, Tokuriki Morinosuke, 《Netflix「Glass Heart」について》, 2025.08
* The Japan Times, “Glass Heart: A glossy rock ‘n’ roll fairy tale”, 2025.08
* Decider, Collider, ScreenRant – 海外影評綜合
* CinemaCafe, EmoMiu – TENBLANK 現實活動報導
* Wikipedia, “Glass Heart (TV series)”

Comment by La Via della Seta on May 13, 2025 at 11:02am

大西洋人·和風·韓流·漢潮——中日韓三國文化軟力量的地位～～讓我們設想以下的情境。

如果現在有兩個舞台，分別由在日本與韓國各自當紅的偶像藝人木村拓哉和Rain上陣，再讓他們同時同地在亞洲各國巡回登場，互別苗頭，你想是誰的舞台較有吸引力？

對於這個假設，恐怕多數讀者都會同意，除了在日本，韓國藝人Rain的磁性會稍勝一籌。

當然，這只是一個假設的情境。因為在現實生活中，沒有任何藝人經紀公司會如此直截了當地抬出兩名當紅藝人來做魅力競爭，畢竟代價過大，沒有多少人輸得起。在某種程度上，我們甚至可以想象如果把較量的雙方換成兩個國家的政府，雙方要如何對陣。

然而，虛構這樣的比較情境，仍有其意義，至少這提供了一個對比平台，讓我們去窺視一個具軟力量資源的國家，透過公共外交渠道去加強自身文化感染力的核心思維之間的微妙關係。

眾所周知，東亞三國中國、日本及韓國皆可算得上是軟力量資源大國，不同的是這三國在對外輸出本國文化感召力時所處的階段有些差別。如果以一條弧狀拋物線來比喻，「和風」現在大概是處於往下墜落的那一邊，代表著它曾經風行一時，時下流行度卻有點不復當年之勇；「韓流」應當處於離地的最高點，顯示它當前如日中天的磅礴氣勢；而「漢潮」則在左側向上爬行的一邊，象征著它正在囤積能量，蓄勢待發。

由此可見，文化力量強弱的變化是個動態過程，曾經紅極一時的可能衰謝，但也可以因注入了新的活力而創造第二個春天。日本是東亞軟力量發展的先行者，在20世紀80年代其經濟進入超速發展時代，成了在符合西方現代化標准的情況下保留了自身獨特文化的少有國家。在這之前，日本無論是文化能量或是科技實力都在緩緩積墊，直接造成80年代中葉至21世紀初的十多年間，「哈日」風潮有多盛，一時成了亞洲國家民間追捧流行文化有多起勁的指標。

值得一提的是，這股「和風」的形成是一種無意識的成就，之所以風靡他國，是由於它當時的文化水平達到別人所欠缺的先進性、開放性、娛樂性及前衛性。這與韓國在亞洲爆發金融危機之後所采取的傾全國政商界之力去發展文化產業的有意識做法，有所差異。

一個是在有意識地將文化產業化，並極力向世界推廣之後取得佳績；另一個則是漫不經心，只靠自由市場的無形之手在國外流露出自身的文化感召力。換言之，如果日本有心扭轉影響力日漸走下坡的態勢，就應該效仿韓國正視把文化產業化、全球化，並且結集政府在政策上的支持力度去改變一貫只重視國內市場的心態，積極將日本文化全球化。

在這個環節上，新加坡同日本雙方都同意探討在中國設立日本文化中心的可行性，顯然便含有非常重要的戰略意義。畢竟，中國是首個同日本簽定雙邊自由貿易協定的國家，從此開啟了它同外國進行自由貿易談判的道路。為求與時並進，新日上個月簽訂了經修訂的「日新經濟伙伴關係協定」（JSEPA），進一步加強雙邊經貿合作。

新加坡同日本的關係源遠流長，兩國各界的交流也非常頻繁。就拿政治聯系來說，盡管李顯龍總理上個月應邀到日本作正式訪問離前總理、現國務資政吳作棟正式訪問日本整整14年之久，但這僅是外交形式上的問題。實際上，新日兩國領導人幾乎每年都進行工作性質的互訪，政府首腦也常在出席各項國際會議如東亞峰會、亞歐峰會及亞太經濟合作組織峰會時，安排舉行會談。

在經濟方面，新日雙邊貿易關係自兩國建交41年以來取得長足發展。在1970年只有60家日本公司在新加坡設立業務，當時日本的投資總額是1億1500萬元。經過36年，在本地有業務的日本公司已超過2200家。

日本目前是新加坡第六大貿易伙伴，雙邊貿易額從前年的529億元增至去年的552億元。中國在日本的累積投資額到了2004年也達33億元，而日本在本地的累積投資額則多出十倍，達367億元。

這些都顯示新日兩國縱橫雙向都有著不淺的交流，因此必定已從磨合中了解彼此的文化特色。本地上世紀80年代刮起的東洋風，從人們追看日本電視節目如紅白歌唱大賽；電台介紹日本歌手，如唱紅一首《昴》（Subaru）的谷村新司；家喻戶曉的漫畫人物小叮當到後期因劇集簡短，人物描繪深刻而受廣大觀眾喜愛的日劇如《沙灘男孩》、《悠長假期》、《麻辣教師GTO》等，都是日本流行文化在本地播種、開花、結果的歷史見證。（原載：2007-4-14 貝殼村）

Comment by La Via della Seta on May 12, 2025 at 1:09pm

續上)即使在今天，亞洲新聞台連播了好幾年的節目「Japan Hours」（日本時段）也是這個面向亞洲觀眾的電視台收視率最高的休閒資訊節目之一。

在任何有意輸出本國文化產業的操作中，先把本土文化的土壤變得肥沃是無可避免的第一步。從日本專利數量全球最高；書籍和音樂產品的銷量佔全球第二；以及全球前25家跨國公司之中，日本擁有三家等方面來看，這塊土壤有多肥沃，大家一目了然。事實上，日本經濟產業部幾年前發表的知識產權戰略報告書便指出，它在音樂、出版和電視電影等文化產業上的總銷售量高達11萬億日元（約1400億新元），也比它出口鋼鐵所賺取的盈利高兩倍。

乍看起來，日本這方面的得分確實相當高。新力公司的Play Station電玩系列、吸引老小的吉蒂貓（Hello Kitty）、走紅亞歐美的袋魔（Pokemon）動畫片及東京街頭流行的服裝與髮式，無一不掀起一定的熱潮。日本流行文化所佔有的領導地位更讓軟力量概念的鼻祖、美國哈佛大學肯尼迪政府學院前院長約瑟夫·奈（Joseph Nye）指為「亞洲最具軟力量資源潛能的國家」。

然而，一個軟力量資源豐富的國家並非天生就是一個軟力量大國。中國清華大學國際傳播研究中心學者周慶安曾指出，近現代歷史證明在整個軟力量的發展過程中，二者甚至沒有必然的因果關係。

他說：「在國際政治歷史上，世界幾個重要的傳統文化中心地區，如東亞地區、愛琴海地區、兩河流域和南亞大陸，都沒有形成能夠影響國際政治話語體系的軟力量中心。這有兩方面的原因，一是這些地方的發展中國家居多，長期的落後影響了這些國家的形象；另一方面是文化並非軟力量，能否產生「力」的效應，取決於這些文化的傳播和應用效果。」

因此，如果日本真的有感於近年韓國流行文化大行其道，甚至覺得「韓流」在登陸本國後如大台風般席卷扶桑列島，而有心力挽「和風」日益頹弱的局面，就應認真考慮利用新加坡作為國際化城市的環球直通脈絡，借助中國對區域風土民情及語言的了解及專門知識，在這裡設立涵蓋方方面面的文化中心，著力將之打造成日本文化在東南亞的輻射基地。

我們必須認清的一點是一種文化產品要升格為一個國家軟力量的重要手段，除了需要易於為人接受並產生共鳴的良好包裝之外，更取決於這個產品的國際化程度。

日本《朝日新聞》過去曾針對日劇暢銷度不如韓劇發表評論，一針見血地指出日本電視界太過滿足於國內市場，對打開海外市場不如韓國積極，只等別人來買，不知道對外促銷。此外，日本明星也傲氣太重，不懂得出國宣傳的道理。

的確，日本文化若想跨出國門，走入國際市場，所有的利益相關者下定決心改變固有心態和適當掌握並開拓傳播渠道，都同等重要。這是配合政府的戰略規劃，透過文化傳播來提升國家利益，加強國家安全，甚至展示軟力量應用的無限可能的重要一環。

（大西洋人：和風·韓流·漢潮：中日韓三國文化軟力量的地位；[原載：2007-4-14 貝殼村]）相關 相關 相關

Comment by La Via della Seta on February 22, 2024 at 7:01am

Hallyu and the Creative Industry – Can ASEAN Replicate South Korea’s Success?

South Korea owes a portion of its robust soft power to the careful cultivation and development of its creative industries, which brought about the worldwide phenomenon Korean Wave or Hallyu. Can ASEAN learn from South Korea’s creative industries to boost its own soft power?

BY FARLINA SAID, PUTERI NOR ARIANE YASMIN AND MUHAMMAD SINATRA

모든 게 궁금해 how’s your day [I’m curious about you, how’s your day]
Oh tell me (oh yeah oh yeah, ah yeh ah yeh)
뭐가 널 행복하게 하는지 [What makes you happy?]
Oh text me (oh yeah oh yeah, ah yeh ah yeh)

The simplicity of the above lyrics by the boyband BTS belies the extreme popularity that the group enjoys. The video clip of this song, entitled “Boy With Luv”, became the most watched video on YouTube within 24 hours upon release. The song also played heavily in Malaysia’s airwaves and inspired a series of advertisements in Bahasa Indonesia, starring the K-pop idols themselves. BTS recorded over US$500 million in revenue last year, while its members became millionaires after the group’s parent company entered into an initial public offering (IPO) in September 2020. Their secret weapon: a massive ecosystem of loyal fans who not only generate revenue from the purchase of music, concert tickets and merchandise, but also render services to promote the band’s image and a wide array of products.

（Hallyu and the Creative Industry – Can ASEAN Replicate South Korea’s Success? by Farlina Said, Puteri Nor Ariane Yasmin and Muhammad Sinatra；they are Analysts in Foreign Policy and Security Studies (FPSS), ISIS Malaysia，Source: https://www.isis.org.my ）

Comment by La Via della Seta on February 21, 2024 at 7:26am

As part of the larger Korean Wave or Hallyu scene, BTS and other such phenomena as Crash Landing on You, Parasite and Pengsoo have generated great following in many parts of the world, including Southeast Asia.

The impact of Hallyu extends beyond the creative industry. The total of Hallyu-related exports amassed to US$12.3 billion in 2019, involving sales of such consumer goods as tour programmes, cosmetics and groceries. In the same year, tourists seeking K-pop or the Hallyu experience accounted for 23.3% of tourists visiting South Korea.

These prove that Hallyu carries more than just entertainment value. It is a testament of South Korea’s soft power, economic might and confidence to engage the rest of the world.

Acknowledging the size and success of South Korea’s creative industry, can the Association of Southeast Asian Nations (ASEAN) as an organisation learn from the former in projecting soft power?

To answer this question, we need to understand that South Korea’s ability to consolidate the creative industry and national identity is not accidental, but by design of the national government.

The creative industry was consistently a feature in the policies of multiple administrations. First and foremost, it grew on the back of globalisation under the framework set by Kim Young-sam. The 1994 Presidential Advisory Board on Science and Technology then focused on the impact of the total revenue made by the film Jurassic Park, which was equivalent to 1.5 million Hyundai cars at the time. This spurred the interest to promote the creative industry.

However, it would be Kim Dae-jung’s pursuit of the self-proclaimed “President of Culture” title that actually set policy objectives in motion. This was further enhanced by the Lee Myung-bak administration’s “Global Korea” campaign on cultural diplomacy, which aimed to promote South Korea’s national brand abroad. The creative industry has since served as the basis of maintaining a strong national identity, tying cultural exports to economic gains and soft power projections.

This formula appears to be resilient, as the COVID-19 pandemic seems to enhance demand for South Korean content. One projection even estimates a 3.3% increase in export volume by the end of 2020 – if true, the pandemic’s effects appear to be bearable. Nevertheless, the resilience of the creative industry has been evident over the past 13 years, with creative goods recording 7% of growth in the midst of a downturn in global trade.

Comment by La Via della Seta on February 20, 2024 at 8:14am

The significance of South Korea’s success lies in the amalgamation of national identity and entrepreneurship. The Korean creative industry covers a wide range of sectors, including games, animation, broadcasting and others, aside from just music and movies. In each of these, the promotion of national identity, whether it is traditions, values, language or culture, is inherent in all content.

For instance, SuperM has released songs in English that also contain Korean words. Moreover, K-drama episodes regularly project an image of a developed, modern, traditional yet technologically advanced South Korea. Additionally, the games industry was promoted from a desire to develop Korea as a high-tech knowledge-based nation.

Creative industries have also proliferated in ASEAN Member States (AMS). The Philippines, Indonesia and Thailand, for example, have established frameworks or agencies aimed at promoting their national creative industry, drawing from a number of such cultural products as food, services and music, among others.

The question, then, is whether there is a foundation for an ASEAN attempt at replicating the South Korean model of creative industries to promote a region-wide identity and support the industries of each AMS.

Three challenges immediately arise.

One, South Korea’s approach builds on a nation-identifying and nation-building strategy that is aimed at both a domestic and international audience. This may not be convenient for ASEAN, which comprise 10 multicultural countries. Such a strategy is easier to achieve in a more homogenous environment such as South Korea.

Furthermore, AMS have also traditionally been nationalistic and the issue of culture often struck sensitive nerves, resulting in tension among them. With the countries potentially becoming more inward-looking and protectionist during and after the pandemic, AMS might have reservations towards opening up their creative industries with each other.

Two, there are different market types and sizes in ASEAN, which then impact the various levels of development of creative industries in the region. Will a single strategy to boost ASEAN’s creative economy suffice if all AMS have diverse markets and are experiencing various levels of development?

Therefore, despite there being elements of the South Korean strategy that could assist ASEAN in projecting a region-wide identity and soft power better, whose identity and soft power will it be? Will an ASEAN strategy project soft power according to each individual member state, or will it project a cohesive, regional ASEAN soft power?

There are ways for ASEAN to navigate around these challenges.

It is not necessary for ASEAN to decide between homogeneity or multiculturalism. A balance can be struck between the two. On the one hand, the bloc could use a common language as a unifying factor, particularly for gaming and broadcasting products. Given multiple ASEAN languages and the lack of a language policy in the region, English is a natural choice.

On the other hand, the strategy for an ASEAN creative industry could also celebrate its multiculturalism. Instead of it being a limitation, ASEAN’s diversity could be seen as an asset that can be used to mobilise multi-dimensional cultural content across its multiple audiences. Technology and digitalisation can also support this. For example, the format of the singing competition Asia Bagus could be revived in the digital space during this pandemic, showcasing talents from multiple AMS to anyone plugged to the Internet.

Comment by La Via della Seta on February 19, 2024 at 5:33pm

Moreover, establishing a digital single market in ASEAN could also work in favour of the creative industries. The framework adopted by the European Union in 2015 allows creators to produce, distribute and be recompensed for their content while also resolving arising intellectual property rights issues. ASEAN should consider this option if creative industries were to flourish here.

Like everything else in ASEAN, perhaps it is easier to focus on available low-hanging fruits in this context. Several specific lessons from South Korea’s creative industries should be considered, especially with the pandemic in the backdrop.

First, the South Korean example shows that creative industries are resilient in times of crisis, as evidenced by acts or performers moving their concerts online or games providing an escapism outlet.

There is an opportunity to be harnessed as the “new normal” setting pushes many human activities to the digital space. With 400 million Internet users in the region, the digitalisation of industries has become a new source of economic growth in the ASEAN region, for example, telecommuting, telemedicine and e-commerce among others.

Officials responsible for the Culture and Arts sector under the ASEAN Socio-Cultural Community (ASCC) must wrest this momentum to push AMS’ creative industries further to the digital space, not only in the interest of promoting content, but also to ensure the economic survival of performers, producers and other industry players during this harsh climate.

Second, South Korea understands the potential of youths, with creative industries constantly producing contents targeting them.

AMS seem to also understand this as evidenced by developments to include youths in creative industries. In Malaysia, for example, millennials appear to be driving the boom for the eSports industry – at the helm of which was a millennial then-Minister of Youth and Sports who fought for budget allocation to this industry.

The pandemic should be a wake-up call to further consider the potential of ASEAN youths in creative industries. There are nearly 220 million youths in ASEAN and a recent survey by the World Economic Forum found that they are resilient individuals who are able to adapt to the post-pandemic world.

Furthermore, 87% of youths recorded an increase in the usage of digital tools during the pandemic. Linked to the previous point, it seems that moving towards digitalisation is a safe bet for creative industries, considering the available talent and pool of demand that the youths can provide.

The fanfare that Southeast Asians threw when Parasite won the Oscar this year was a clear testament of the potent soft power that South Korea has. Despite it being the sole achievement of South Korea’s creative industry, the people of this region also shared the shock, excitement and incredulity from this momentous achievement. Although it might be difficult for ASEAN to fully replicate the South Korean model of combining national identity and entrepreneurship, there are other lessons that ASEAN could learn to promote its creative industries. The Parasite dream might be distant, but a fellow Asian country demonstrates that it is not impossible.

（Hallyu and the Creative Industry – Can ASEAN Replicate South Korea’s Success? by Farlina Said, Puteri Nor Ariane Yasmin and Muhammad Sinatra；they are Analysts in Foreign Policy and Security Studies (FPSS), ISIS Malaysia，Source: https://www.isis.org.my）

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