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This paper explores how writers in the South Korean broadcasting industry have collectively struggled against their precarious working conditions and faced distinctive difficulties in taking their collective actions, including unionization. Based on semi-structured, in-depth interviews with 23 research participants, this paper examines why and how these South Korean writers have established various forms of collective worker organization: from a professional association to informal grassroots communities, to a women-only trade union, to two unions of media workers who are freelance or on contract. I argue that the activism of these writers reflects the intersection of different identities, ranging from women to freelancers to cultural workers and that their activism promotes the idea that working creatively, autonomously and equitably should be recognized as a basic labour right. [ABSTRACT FROM AUTHOR]

The entertainment industry is driven to sell certain commodities transnationally, particularly in a world where borders are becoming increasingly diffused through the access afforded by the Internet. Media content is easily consumed, making cultural exporting fast and easy. Similar tropes and plot have been replicated in the East Asian film and TV industry, perhaps in hopes of replicating the success. This paper looks at the manufacture of ideal masculinities within East Asia, particularly China. From ex-members of K-pop group EXO to the successful TV series, cross-influence of East Asian popular culture is prominent. Through this paper, I look at the influence of K-dramas on the Chinese TV industry and particularly the manufacturing of a militarized masculinity on Chinese TV. Far from portraying brute and fearsome soldiers, ideal masculinity on TV is portrayed as "steely exterior but gentle internally" and thus desirable romantic partners to heterosexual women. By exploring the basic conception of Chinese masculinity, I then discuss representations of militarized masculinity on the silver screen (Wolf Warrior II) and C-dramas, with particular focus on the series, You Are My Hero (2021). [ABSTRACT FROM AUTHOR]

TV dramas that focus on food and eating reflect the popular trend of single culture, with a rising number of single-person households among the younger generation in South Korea. Analyzing Let's Eat (tvN), the South Korean food drama series that specifically focus on eating scenes, this paper uses the framework of survivalism and the popular discourse of healing to examine how eating alone as a social and cultural phenomenon represents the psychological turn in neoliberalism. In its three seasons, Let's Eat reflects how eating alone becomes a practice of endurance and resilience that encourages the younger generation to stay positive, even during an enervated state of mind, to bounce back, and to ultimately spring forward. I argue that Let's Eat reflects how survivalism especially requires the marginalized population of women in precarious employment to reflect and grow confidence without considering the problems of structural inequality. Let's Eat shows the younger generation's struggle and lack of societal support, perpetuating neoliberalism's focus on individual effort and blaming individuals for their enervation. [ABSTRACT FROM AUTHOR]