In the reading “Cultural Globalization,” Iwabuchi proposes the concept of
“cultural proximity” and “cultural distance” as a way to explain the pan-Asian popularity of Japanese television drama in the 90s.
First, elaborate what Iwabuchi argues with this concept.
Secondly, focusing on the example of transmedia adaptations and transnational remakes of “Hana Yori Dango,” analyze how Iwabuchi’s argument can be applied to understanding their popularity among pan-Asian audiences. In particular, address the way in which each remake version (Korean, and Taiwan) localizes the original text in a way to negotiate the tension between cultural proximity and cultural distance.