“霸权模仿”是金暻铉的理论核心。“霸权模仿”是指一个处于边缘地位的文化体（如二战后的韩国），通过精准、彻底地模仿全球霸权中心的审美标准、工业流程和语言逻辑，从而在霸权所主导的评价体系内获得成功。二战后被美国驻军的不止韩国，为什么独独韩国会如此彻底地走向“霸权模仿”之路，金暻铉解释说，许多国家的模仿是断续的或浅层的，或者像日本一样，驻扎的美军只限于某地（如日本只有冲绳有大量驻军），但韩国从1950年代至今的75年间，全境均有大量驻军，三代人的时间里，人们都在同一个“美式审美”的逻辑下进行文化生产。这种长期的、高压的模仿，让“美式审美”内化成了韩国文化生产者的本能。
The stamp has a thin dark inner border line just inside the perforations, framing all content. Below this inner border line, there is a flat white horizontal strip spanning the full bottom width of the stamp, sitting inside the perforated edge. In the bottom-left of this white strip: the movie title in large heavy bold grotesque sans-serif font (similar to Franklin Gothic), in solid black. In the bottom-right of this white strip: the most accurate and natural Japanese kanji translation of the title or central theme of the movie in large bold black text, with small text above it reading “NIPPON 郵便”, and two lines of tiny black text below it — the first line showing the most iconic or recognizable location from the movie in all caps, and the second line showing the country where the movie was produced followed by a · and the year the movie was released — all right-aligned.
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