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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]

Qiu Jun of Ming China, with the aim of "rendering the Zhuzi jiali both accessible and practicable for ordinary folks," compiled the Jiali yijie. Among the annotations of Jiali in the Ming dynasty, Jiali yijie gained the widest popularity and greatest influence, and was regarded as a new classic, on par with the Jiali itself. In the 16th century, Jiali yijie was also introduced to Joseon Korea, where it was regarded as "an important supplement to the Zhuzi jiali" by Korean scholars, attaining a high level of popularity. This paper draws on 23 versions of the Jiali yijie from the Ming dynasty and 33 from the Qing. Historically, the Jiali yijie was introduced to the Joseon dynasty from China by Kim Anguk in 1518. Through the comparison of these four Joseon print versions and their Chinese counterparts, we are led to the conclusion that it was the Yingtian prefecture's print, dated the twelfth year of the Zhengde Era, that Kim Anguk brought back to Joseon from Ming China. [ABSTRACT FROM AUTHOR]

Yue et al. (2021) have proposed a model of two Upper Palaeolithic industries in Northeast China called the "Initial Microblade Industry" and the "Northern Microblade Industry", with the latter originating from the former, and its spread to the neighbouring regions of Northeast Asia. We have found several inconsistencies in their factual data and methodology, and therefore the conclusions reached by Yue et al. (2021) cannot be accepted at face value. Using the most reliable evidence, the oldest true microblade assemblages are known from the Korean Peninsula. We suggest that this region is the more probable centre of diffusion of microblade technology in mainland Northeast Asia, including China and the Russian Far East. • Yue et al. (2021) published paper on microblades in Northeast China. • They have several inconsistencies in factual data and methodology. • We address the most debatable issues related to Yue et al. (2021). • The earliest true microblades originated in Korea and not in Northeast China. [ABSTRACT FROM AUTHOR]