Volume 48, Issue 12

Page 1

The Independent Student Newspaper of the University of Toronto Mississauga since 1974

Issue 12 Volume 48 December 6 2021

themedium.ca

2021 RECAP

VANESSA TIIU

MANAGING STRESS

Attempting to recap everything that happened this year would be nearly impossible, but we at The Medium decided to give it the ol’ college try and pick out some of the most memorable and significant moments this year had to offer.

She began her social media journey at 15, inspired by sharing her personality and interests with family and friends online. In 2019, her first year at the University of Toronto Mississauga (UTM), Tiiu decided to take social media platforms more seriously.

The end of term always has us stressed out and working at full capacity. During these times, we must recognize how we are feeling and come up with a plan to ensure that we are still taking care of ourselves while we prepare for our exams

>> read more on page 06

>> read more on page 09

>> read more on page 12

NEWS

UTMSU continues to demand immediate reduction on tuition fees Shreya Joshi Staff Writer

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n November 22, the University of Toronto Mississauga Student Union (UTMSU) held a virtual meeting to discuss the impacts of tuition costs primarily on international students. During the meeting, members reviewed the provincial government’s funding plan and the disproportionate education budget allotted to international learners. The meeting revealed that of $31 billion of Ontario’s post-secondary education fund, a mere $6.9 billion is given to the Ministry of Colleges and Universities. >> UTMSU continues on page 03

OPINION

ARTS

How international students really feel about returning to campus

The Korean Wave crashes into the Western world

Mariela Sol Torroba Hennigen Contributor

Names have been omitted to protect anonymity.

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arlier this month, University of Toronto Mississauga (UTM) confirmed most winter courses will be offered in-person. After almost two years of Zoom university a lot of us are eager to return to in-person classes, despite feeling some semblance of discomfort because it means we will get the proper university experience, since universities are meant to be in-person to begin with. A lot of us have valid concerns and don’t feel safe about the return. But what if you are not even in the country and whether you are excited or not doesn’t even matter because you may not even be able to come to Canada? When I got accepted to UTM last year, the visa center in my city was closed. I applied for my study permit online in June 2020 and my application was only approved in July 2021. The pandemic caused visa appointment cancellations and repeated medical examinations frequent. Not knowing when my study permit would be approved triggered additional anxiety and frustration during my first year of university. >> INTERNATIONAL continues on page 07

Paige France Staff Writer

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fter the exhaustion of hardened tropes and archetypes that remained at the forefront of Western entertainment for years, something stark and fresh has risen out of this vast age of entertainment monotony— something unequivocally different with creative executions that are enthralling North American audiences. As noted in a thesis by Courtney McLaren, “Hanliu” (which became Hallyu) is a Chinese term that translates to “Korean Wave.” Hallyu represents the cultural spike of Korean content that has fascinated the Western world since the 1990s when the government lifted its travel ban—allowing international influences in—revoked its censorship laws, and reconstructed its economy. Now a “depoliticized” bridge between two disparate cultures, Hallyu was first driven by the spread of K-dramas and K-pop across East, South, and Southeast Asia during its initial launch. The Korean Wave then transgressed from a regional development into a global phenomenon. Proving to be a promising major exporter of

popular culture, Korea’s entertainment pushed through with the South Korean government’s support of its creative industries through subsidies and funding for startups. This would be spearheaded as a form of “soft power,” with the goal to become a leading global exporter of culture in line with Japanese and British culture—a niche that the U.S. has dominated for nearly a century. Soft power, a term coined by Harvard political scientist Joseph Nye, is described as “the intangible power a country wields through its image, rather than through hard force.” Using their popular culture as currency over the past 20 years, Korea began with a gross domestic product per capita less than Ghana and is now rising to be the twelfth largest economy in the world. DramaFever, a former video streaming site and leader in international media, has published statistics that showcase a quadruple boom in viewers from 2012 to 2013, growing from 2.5 million to 10 million. Currently, viewership has peaked at 20 million. With 85 per cent of DramaFever’s audience shown to be non-Asian, these staggering numbers reveal the power of K-dramas in recent years, bringing flavour to the deprived palette of Westerners. >> KOREAN WAVE continues on page 11


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