일본 대중문화와 한국의 통치성 : 자기 제한 장치에서 플랫폼 속의 소비재로, 나아가 규제 회피의 회랑으로

Abstract

This paper examines that aspects of the regulatory and openness to Japanese popular culture in Korea, in relation to governmentality. After the Korea-Japan Agreement in 1965, the Korean government had to restrict the Japanese pop culture in public spaces such as theaters and TV, but allowed it in private spaces. As a reaction to this, discourse of self-regulation against Japanese popular culture has repeated in conservative newspapers and college students movement. This is a representative example of neoliberalism, which finds ‘risk’ in freedom and restricts itself by itself. The tendency to regard Japanese popular culture as a potential risk for society continued even in the midst of the 1990’s, when there was growing interest in Japanese culture. For example, even Kino, that highly appreciated the artistry of Japanese movies and animation, expressed concern about the representation of sexuality in Japanese popular culture. Kino emphasized only the aesthetics of Japanese popular culture and autonomously excluded the secularity of it:this is in line with the atmosphere of the era when Japanese pop culture opens, excluding the secular nature of Japanese pop culture itself. In 1998, in response to the opening of Japanese pop culture, the opinion of conservative media suggests that self-regulation of vulgar culture is necessary even if NGOs are used. However, as globalization through the Internet is being promoted, self-regulation based on nationalism as well as government regulation becomes difficult. At this point, Japanese pop culture is imaged as a channel in which gathering subjects who want to avoid self-regulation based on universal human rights or religious conscience, not just government regulation.