Rhizome in the shadows: transplantation of Korean Running Man in the rise of screen-capitalism

Abstract

In a potentially volatile policy environment as Mainland China, Korean Wave (hallyu) has penetrated into and continued survival in China through a new pattern of remakes in the context of bilateral tensions. Through a comparative examination of the Korean variety television programme Running Man and its Chinese remake Hurry up, Brothers, as a case study of the remakes, I explore how hallyu has become an amnyu (undercurrent) in the Chinese context. In this article, I conceptualize screen-capitalism to analyse and theorize emergent challenges and possibilities in a global context where collaborations flourish while conflicts remain, arguing for ‘transplantability’ as a rhizomatic quality that allows one screen culture to be connected or plugged into others outside of it, and that can be efficiently compatible with heterogeneous elements—other cultural, political, ideological, and linguistic communities—in diverse modes.

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