DOCSLIB.ORG

Malang‟S K-Pop Fans Hyperreality

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Advances in Social Science, Education and Humanities Research, volume 404 International Conference on Social Studies and Environmental Issues (ICOSSEI 2019) Malang‟s K-Pop Fans Hyperreality st 1 Nabila Yanaira Rachman 4th Ahmad Nasihuddin Faculty of Social Sciences Faculty of Social Sciences Universitas Negeri Malang Universitas Negeri Malang Malang, Indonesia Malang, Indonesia [email protected] th nd 5 Ika Wahdaniah 2 Nur Faridatul Jannah Faculty of Social Sciences Faculty of Social Sciences Universitas Negeri Malang Universitas Negeri Malang Malang, Indonesia Malang, Indonesia th rd 6 Alan Sigit Fibrianto 3 Ervi Revilda Faculty of Social Sciences Faculty of Social Sciences Universitas Negeri Malang Universitas Negeri Malang Malang, Indonesia Malang, Indonesia [email protected] Abstract— This article made on purpose to review about communication and technology media which is easy to popular culture that is Korean Hallyu star or well-known as K- understand and follow. Furthermore, popular culture began to Pop (Korean Pop) culture, from South Korea. Based on this develop in the late 20th century and grew rapidly in the research, K-Pop is a popular culture that pretty famous in any beginning of the 21st century. One of the popular cultures that ages, especially the teenager that made K-Pop fandom being is currently very loved by a lot of people [2], especially in popular around the world, including Indonesia. Malang is one of Indonesia, is the Hallyu Star Korea, or the exact term is K-Pop the city who have many K-Pop fans. That’s why this research has culture. Culture does have a role in the formation of identity done in Malang with qualitative descriptive approach and [3]. Then, technology is a tool used in comparing that identity, interview by giving some questions to the subject who are K-Pop through products of technology, namely the media [4]. The fans in Malang. This research explains about hyperreality action presence of technology also has a significant impact in who did by K-Pop fans in Malang. Hyperreality means to create a new reality that didn’t match with the reality itself, it’s based changing the patterns of life of people throughout the world on research to K-Pop fans act in Malang. Many of them (fans) [5]. Technology will eventually change the pattern of people's admitted that they are the lover from their idol and assume their behavior wherever they are [6]. Technology is also able to idols are near them but actually not. create branding with all the elements contained in the technology as a product that can be utilized for various Keywords: popular culture, K-Pop, hyperreality purposes [7]. I. INTRODUCTION Generally, the development of Korean culture in Indonesia is dominated by women of adolescence and above even though In this digital era, all forms of information can be accessed it is not denied that lately hallyu fever is also felt by children easier. Likewise the development of culture from all directions and even not only a few men that contribute in it. The most can we see and learn through the technological advancement striking of these cultural developments, is that most of Korean that exists today. The number of cultures that comes from one fans began to follow the growing trend in Korea. It is not only country to another, one region to another raises a new term, the matter of fashion trends, but also the matter of their attitude namely popular culture. The popular culture itself, according to and personality. If what is commonly used in Indonesia is [1], is a form of idea whether related to fashion, style or mixing Indonesian and English, among K-Pop fans it has also behavior that is favored by someone and develops a lot through become natural to speak in Korean style. Copyright © 2020 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 325 Advances in Social Science, Education and Humanities Research, volume 404 Not only speaking, in the terms of personal individuals, they Then, the third article by [11] with the article title did not escape being like their idols. Idol, in this case, K-Pop "Characteristics of Social Media in Forming a Popular Korean idol is not infrequently a source of inspiration and fantasy for Pop Culture Among the Samarinda and Balikpapan fans to imitate some of the actions and things that the idol is Communities" which focused on how the role and function of doing. So that it will lead to hyperreality actions which occur the media as an intermediary for the formation of K-Pop culture among adolescents. Hyper reality which is a person's inability to to teenagers in Samarinda. Media has a big influence on the distinguish reality and fantasy so that someone will excessively spread of popular culture so that teens easily get the latest like what they think is right and do everything even though it is information about K-Pop on social media, which in turn, many not real. According to [8] hyper reality will lead to conditions teenagers are following the flow of popular culture. Whether it's that are considered to be a reality, which then will be trusted as good or bad, everything is considered true as long as the media reality and a fake will be believed as a truth. This is reinforced is right. Whereas in the article written by the current authors, is by Baudrillard's opinion that a simulation creates a new reality more emphasis on how the attitudes and behavior of K-Pop fans which he calls hyperreality. The authors themselves have seen in Malang in appreciating what is liked through daily life and many teenagers are now very fond to K-Pop culture, especially also forms of action that can be regarded as a hyperreality action around the writer's environment. There are also many K-Pop of a fan. lover organizations found whether in small organizations such as K-Pop dance lovers or even fan clubs from various boy groups Next, the fourth article by [12] with the title of the article "K- and girl groups in Korea. Pop Fan Fanismism in Netizenbuzz Blog". The article explaining about netizenbuzz blog which is divided into two Therefore, in this article the authors are very interested in important texts, namely fans-gift and sasaeng fans. Fans-gift conducting research related to how the development of the K- culture get negative responses from a lot of fandoms, because Pop fans’ hyperreality level that occurs among teenagers and they are considered as fans who are too fanatical to give students in Malang at this time. Actually, researches about K- expensive and luxurious items to their idols. As well as sasaeng Pop culture has also been done by several previous researchers, fans which also get negative responses from the fandom, it is just that there is no similarity with the theme that the authors because they violate the rules and laws that had been applied. took. The first article was made by [9] from Brawijaya Furthermore, the fanaticism of K-Pop fans portrayed in the University, Malang with the title of the article "Celebrity netizenbuzz blog itself is inclined to all actions and behavior Worship Relationships against K-Pop Idols (Korean Pop) with carried out by fans excessively even beyond common sense. Imitation Behavior in Teens". In the article, the content is more Therefore, fanatical fans are different from fans who are simply about how a teenage K-Pop fan is being very obsessed with her amazed without doing any activity and considered as ordinary idol, which is called as Celebrity Worship, where someone fans. In this fourth article, maybe both authors discussing the wants to always be involved in idol life. The article is also same K-Pop fans, but in the articles written by the current explaining about the factors that affect Celebrity Worship to authors does not discuss fanatical fans that portrayed through reach at the stage of imitation. In this first article the current netizens' blogs, it is rather lead to excessive fan actions that authors did not find similarities in both title and focus of the mimic every style and behavior carried out by his idol that even research because the research that the authors did more sometimes is difficult to be reasoned with common sense. specifically describes about how the hyperreality of K-Pop fans in Malang concerning the actions taken and the forms of And the last article by [13] from the University of Indonesia imitation performed. with the title of the article "Contribution of Social Identity to Conformity to K-Pop Enthusiasts" which discusses about how Next, the second article by [10] with the article title conformity in K-Pop fans is formed and the conformity in a "Conformity and Fanaticism in Young Korean Wave (Research group is caused by interest and norm values which is believed on Super Junior Community Fans ELF Club in Samarinda)". In and embraced by every K-Pop fan who has similarities. Sella's research, the results section and discussion explaining Furthermore, it is also explained that conformity in adolescents about how an ELF or a fan of Super Junior, a boy group from can arise as a result of an individual being able to imitate the Korea, was much influenced by conformity that occurred in attitudes and behavior of someone he deems to be respected to society, namely behavior changes caused by social normative take real action. This is different from the focus of the article and informational which eventually led to acts of fanaticism so written by the current authors, because the article the authors did that a Super Junior’s fan will do anything to maintain his/her is more likely to discuss about the hallucinatory attitudes carried loyalty to his/her idol boy group.
Recommended publications
  • Review of Operations

    Review of Operations

    REVIEW OF OPERATIONS OVERVIEW Turnover from continuing operations was £964.6 million (2001 restated: £1,040.1 million).The decline is primarily due to a reduction of £35.7 million in advertising revenues. Operating costs are under tight control. A stringent review last year identified £45.0 million in annual savings in the second full year, including Carlton’s share of savings in ITV. Delivery is well ahead of target with savings of £54.2 million achieved by end-September. June Brown and Penelope Keith star in Total continuing operating profit before amortisation and Margery & Gladys, a Carlton production for 2003. exceptional items was maintained at £65.3 million (2001: £65.8 million).The total amortisation charge, including joint ventures, was £17.6 million (2001: £17.4 million) and operating exceptional items totalled £4.8 million (2001: charges £52.4 million). Net interest charges were £12.0 million (2001: £35.6 million).The fall is attributable to lower effective interest rates and lower net interest bearing balances. Amounts written off investments were £8.2 million (2001: nil). Profit on continuing operations before taxation was £32.3 million (2001: loss of £39.6 million). ITV has extended its rights to show Bond movies on TV. BROADCASTING Turnover was £799.5 million (2001: £830.1 million) and profits were £67.4 million (2001: £83.3 million). Carlton’s television advertising revenues recovered to show an increase of 2 per cent in the second half of the year, compared to the same period last year. After a difficult first six months, year-on-year growth resumed in May.
  • Follow the Integrity Trendsetter How to Support Change in Youth Opinion and Build Social Trust

    Follow the Integrity Trendsetter How to Support Change in Youth Opinion and Build Social Trust

    U4 Issue 2019:3 Follow the integrity trendsetter How to support change in youth opinion and build social trust By Jenny Bentley and Saul Mullard Series editor: Saul Mullard Disclaimer All views in this text are the author(s)’, and may differ from the U4 partner agencies’ policies. Partner agencies Australian Government – Department for Foreign Affairs and Trade – DFAT German Corporation for International Cooperation – GIZ German Federal Ministry for Economic Cooperation and Development – BMZ Global Affairs Canada Ministry for Foreign Affairs of Finland Ministry of Foreign Affairs of Denmark / Danish International Development Assistance – Danida Swedish International Development Cooperation Agency – Sida Swiss Agency for Development and Cooperation – SDC The Norwegian Agency for Development Cooperation – Norad UK Aid – Department for International Development About U4 U4 is a team of anti-corruption advisers working to share research and evidence to help international development actors get sustainable results. The work involves dialogue, publications, online training, workshops, helpdesk, and innovation. U4 is a permanent centre at the Chr. Michelsen Institute (CMI) in Norway. CMI is a non- profit, multi-disciplinary research institute with social scientists specialising in development studies. www.U4.no [email protected] Cover photo A volunteer explains the Integrity idol campaign. (Photo credit: Accountability Lab Nepal) Accountability Lab Nepal Keywords Nepal - social norms - youth - NGOs - accountability Publication type U4 Issue Creative commons This work is licenced under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International licence (CC BY-NC-ND 4.0) In some societies people come to see corruption as the norm. When popular opinion in a country normalises corruption, this results in low trust in public administration.
  • HSP Book English.52804

    HSP Book English.52804

    Resources Books Adams, Anna. 2000. Hidden from History: The Latino Community of Allentown. Allentown: Lehigh County Historical Society. Davila, Arlene. 2001. Latinos Inc.: The Marketing and Making of a People. Berkeley: University of California Press. Davis, Mike. 2001. Magical Urbanism: Latinos Reinvent the U.S. City. Verso. Delgado, Richard and Jean Stefanic, editors. 1998. The Latino/a Condition: A Critical Reader. New York: New York University Press. Flores, Juan. 2000. From Bomba to Hip-Hop. New York: Columbia University Press. Flores, William V. and Rena Benmayor, editors. 1998. Latino Cultural Citizenship: Claiming Identity, Space, and Rights. Boston: Beacon Press. Goode, Judith and Jo Anne Schneider. 1994. Reshaping Ethnic and Racial Relations in Philadelphia: Immigrants in a Divided City. Philadelphia: Temple University Press. Morales, Ed. 2002. Living in Spanglish: The Search for Latino Identity in America. Los Angeles: LA Weekly Books. Oboler, Suzanne. 1995. Ethnic Labels, Latino Lives: Identity and the Politics of (Re)Presentation in the United States. Minneapolis: University of Minnesota Press. Olmos, Edward James and Lea Ybarra. 1999. Americanos: Latino Life in the United States. Little, Brown & Company Padilla, Félix. 1985. Latino Ethnic Consciousness: The Case of Mexican Americans and Puerto Ricans in Chicago. Notre Dame, IN: University of Notre Dame Press. Rodriguez, Clara E. 2000. Changing Race: Latinos, the Census, and the History of Ethnicity in the United States. New York: New York University Press. Stavans, Ilan. 2004. Spanglish: The Making of a New American Language. RAYO. Suárez-Orozco, Marcelo M. and Mariela M. Páez, editors 2002. Latinos: Remaking America. Berkeley: University of California Press. Suro, Roberto.
  • Body As Evidence

    Body As Evidence

    Chapter 1 Pop Goes Democracy Mediating Race, Gender, and Nation on American Idol Parallels between presidential elections and the hit TV series are not hard to make. Indeed, they had become punch lines in comedyAmerican routines: Idol from Comedy Central’s Stephen Colbert complaining that it took too long to determine the next American Idol (in a gag that had audiences assuming he was referring to the next U.S. president) to ABC’s Jimmy Kimmel quipping that, after watching the vice presidential debate during the U.S. presidential campaign in 2008, he “voted four times for Sarah Palin and six times for David Archuleta,” in reference to the popular Republican vice presidential candidate and frontrunner contestant that year. Interestingly, movie critic RogerAmerican Ebert Idol’s mounted criticism against Palin for being “the American Idol candidate,” in which he argued the following: I think I might be able to explain some of Sarah Palin’s appeal. She’s the “American Idol” candidate. Consider. What defines an “American Idol” finalist? They’re good‑looking, work well on television, have a sunny personality, are fierce competitors, and so talented, why, they’re darned near the real thing. There’s a reason “American Idol” gets such high ratings. People identify with the contestants. They think, Hey, that could be me up there on that show! . My problem is, I don’t want to be up there. I don’t want a vice president who is darned near good enough. I want a vice president who is better, wiser, well‑traveled, has met world leaders, who three months ago had an opinion on Iraq.
  • Authenticity and X Factor: Narratives of Stardom, Background/Aspiration and Performance

    Authenticity and X Factor: Narratives of Stardom, Background/Aspiration and Performance

    Authenticity and X Factor: Narratives of Stardom, Background/Aspiration and Performance If success is to be measured numerically the UK X Factor is a triumph of superlatives. An average of 16.55 million viewers tuned in during the two-hour final episode on 11th December 20101, making it the most watched programme of the year on British television2. The winner, Matt Cardle, sold 439,000 copies of his single in the week following his victory3 and, according to The Guardian, the final weekend of the 2010 series raised £25 million in advertising revenue for its host channel ITV4. X Factor is a television format that grew out of ‘pop reality’ shows Popstars (UK, 2001-2) and Pop Idol (UK, 2002-3) and was established in 2004. The basic premise of the programme is to ‘discover’ a new popstar from an ever-dwindling pool of contestants. It begins with the ‘auditions’ section where the judges (Simon Cowell, Louis Walsh, Dannii Minogue and Cheryl Cole) whittle thousands of auditionees down to a ‘top 12’. These twelve acts are divided into four groups with each group assigned to a particular judge as their ‘mentor’. The so-called ‘live shows’ now begins in which each act must sing live every week5. Through a mixture of audience voting and judges decisions, one act is sent home every week, eventually leaving one to be crowned X Factor champion. Alongside this phenomenal commercial success, X Factor continues to be criticised in much of the UK media. Criticism tends to evoke an Adornian notion of the culture 1 http://www.guardian.co.uk/media/table/2010/dec/21/top-tv-shows-2010 2 http://www.barb.co.uk/report/weeklyTopProgrammesOverview? 3 http://www.nme.com/news/nme/54322 4 http://www.guardian.co.uk/media/2010/dec/08/x-factor-ad-revenues industry, condemning the show as a commercialised enterprise intent on churning out banal and commoditised art (Adorno & Horkheimer, 1944: 121).
  • The 27Th ANNUAL Hahn Moo-Sook Colloquium in the Korean

    The 27Th ANNUAL Hahn Moo-Sook Colloquium in the Korean

    PROFILES Director Jisoo M. Kim is the Korea Foundation Associate Professor of History, International Affairs, and East Asian Languages and Literatures and Director of the Institute for Korean Studies at GW. She received her Ph.D. in Korean History from Columbia University. She is a specialist in gender and legal history of early modern Korea. Her broader research interests include gender and The 27th ANNUAL Hahn Moo-Sook Colloquium sexuality, crime and justice, forensic medicine, literary representations of the law, history of emotions, vernacular, and gender writing. She in the Korean Humanities is the author of The Emotions of Justice: Gender, Status, and Legal Performance in Chosŏn Korea (University of Washington Press, 2015), which was awarded the 2017 James Palais Prize of the Association for Asian Studies. She is also the co-editor of The Great East Asian War and the Birth “Consuming K-Pop: Soft Power, Marketization, and Cultural of the Korean Nation by JaHyun Kim Haboush (Columbia University Press, 2016). She is currently working on a new book project titled Appropriation” Suspicious Deaths: Forensic Medicine, Dead Bodies, and Criminal Justice in Chosŏn Korea. Saturday, November 2, 2019 KEYNOTE SPEAKER Korean popular culture is arguably one of South Korea’s most impactful exports, reaching a worldwide audience of Kyung hyun Kim currently serves as a professor in the Department of East Asian Studies at UC Irvine. He received his B.A. devoted fans through strategic marketization. From music, film, television, sports to food, the “Korean Wave” (East Asian Studies and Politics) from Oberlin College, and his Ph.D. in Cinema Studies at USC.
  • Diversity of K-Pop: a Focus on Race, Language, and Musical Genre

    Diversity of K-Pop: a Focus on Race, Language, and Musical Genre

    DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language.
  • “American Idol” Contestant Agreement

    “American Idol” Contestant Agreement

    19 Group “American Idol” Contestant Agreement The following are excerpts from a 14-page contract for "American Idol" contestants. This contract, with producer Simon Fuller’s 19 Group and affiliated companies, was presented to a prospective contestant on a take-it-or-leave-it basis who was given a few hours to sign or decline.1 1. I hereby consent to Producer's filming, taping and/or recording of me for use in and in connection with the Series ... I acknowledge and agree that Producer will be the sole and exclusive owner of all rights and material filmed, taped, and/or recorded pursuant to this Agreement. ... I hereby grant to Producer the unconditional right throughout the universe in perpetuity to use, simulate or portray (and to authorize others to do so) or to refrain from using, simulating or portraying, my name, likeness (whether photographic or otherwise), voice, singing voice, personality, personal identification or personal experiences, my life story, biographical data, incidents, situations and events which heretofore occurred or hereafter occur, including without limitation the right to use, or to authorize others to use any of the foregoing in or in connection with the Series ... ... I understand that, in and in connection with the Series, I may reveal and/or relate, and other parties ... may reveal and/or relate information about me of a personal, private, intimate, surprising, defamatory, disparaging, embarrassing or unfavorable nature, that may be factual and/or fictional. [Producer’s recordings of any and all behavior of the contestant "in and in connection with the series" and the contestant's likeness, voice and any or all biographical material may be exploited by 19 Group forever and "throughout the universe."] 2.
  • Adapting Idols Joost De Bruin and Koos Zwaan

    Adapting Idols Joost De Bruin and Koos Zwaan

    Introduction: Adapting Idols Joost de Bruin and Koos Zwaan Idols is one of the most popular and successful global television formats produced in the last decade. The format has been adapted in over 40 territories all over the world, as the appendix – compiled by Sukhpreet Singh and Martin Kretschmer for this book – shows. The original show, Pop Idol, went to air in the UK in 2001. The next year, local versions of the show were broadcast in Poland, South Africa, the USA, Germany and the Netherlands. By the end of 2004 – exactly three years after the introduction of Pop Idol – 30 territories were screening their own Idols shows, illustrating the rapid global spread of the format. In some cases Idols was produced for transnational geographic regions, such as Asian Idol – with auditions in India, Indonesia, Malaysia, the Philippines, Singapore and Vietnam – and the Pan-Arab Superstar, which featured contestants from Lebanon, Syria, Iraq, Jordan, Libya, Morocco and Algeria. The most recent branch on the global Idols tree at the time of writing is Idol Puerto Rico. The owners of the Idols format, FremantleMedia and 19 Entertainment, have thus managed to capitalize on the work put into the design of the original UK show by turning it into a format and selling it to a range of territories. The goal of Idols shows is to involve a nation (or a region consisting of several different nations) in a quest for a popular music idol who can be admired by all. Idols shows are commonly divided into four distinct phases (Holmes 2004).
  • Jury Members List (Preliminary) VERSION 1 - Last Update: 1 May 2015 12:00CEST

    Jury Members List (Preliminary) VERSION 1 - Last Update: 1 May 2015 12:00CEST

    Jury members list (preliminary) VERSION 1 - Last update: 1 May 2015 12:00CEST Country Allocation First name Middle name Last name Commonly known as Gender Age Occupation/profession Short biography (un-edited, as delivered by the participating broadcasters) Albania Backup Jury Member Altin Goci male 41 Art Manager / Musician Graduated from Academy of Fine Arts for canto. Co founder of the well known Albanian band Ritfolk. Excellent singer of live music. Plays violin, harmonica and guitar. Albania Jury Member 1 / Chairperson Bojken Lako male 39 TV and theater director Started music career in 1993 with the band Fish hook, producer of first album in 1993 King of beers. In 1999 and 2014 runner up at FiK. Many concerts in Albania and abroad. Collaborated with Band Adriatica, now part of Bojken Lako band. Albania Jury Member 2 Klodian Qafoku male 35 Composer Participant in various concerts and contests, winner of several prizes, also in children festivals. Winner of FiK in 2005, participant in ESC 2006. Composer of first Albanian etno musical Life ritual. Worked as etno musicologist at Albanology Study Center. Albania Jury Member 3 Albania Jury Member 4 Arta Marku female 45 Journalist TV moderator of art and cultural shows. Editor in chief, main editor and editor of several important magazines and newspapers in Albania. Albania Jury Member 5 Zhani Ciko male 69 Violinist Former Artistic Director and Director General of Theater of Opera and Ballet of Tirana. Former Director of Artistic Lyceum Jordan Misja. Artistic Director of Symphonic Orchestra of Albanian Radio Television. One of the most well known Albanian musicians.
  • NZ Idol: Youth Audiences and Local Meanings

    NZ Idol: Youth Audiences and Local Meanings

    NZ Idol: Youth Audiences and Local Meanings Joost de Bruin Introduction The reality television show NZ Idol has been one of the most successful locally made entertainment programmes in New Zealand over the past ten years. Three seasons were broadcast on TV2 in 2004, 2005 and 2006. According to its producer, the final episode of the first season was the most­watched television show in New Zealand in 2004, with a staggering 1.4 million people, a third of the New Zealand population, tuning in to find out who won the first NZ Idol crown (South Pacific Pictures 2004). On top of impressive ratings the show also attracted considerable secondary media attention. Stories about NZ Idol and its contestants featured regularly in local media such as newspapers, popular websites, and women’s, youth and gossip magazines. NZ Idol is an adaptation of the global Idols format, which has been sold to more than 40 other territories around the world (Fremantle Media 2009). Although all adaptations are structured similarly – starting with regional auditions by a large pool of aspiring young people in front of a jury and finishing with live shows in which the remaining contestants perform on stage (Holmes 2004a: 153­154) – each Idols version also incorporates typically local aspects. Existing scholarship on global formats has indicated that in the process of adaptation, local stories, events and characters can be included in the narrative (Moran 1998; Waisbord 2004). In the case of NZ Idol this has resulted in, among other aspects, a unique mix of contestants from Pacific Island, Māori and Pākehā backgrounds, ‘going home stories’ shot in locations all over Aotearoa/New Zealand, the use of local New Zealand music, and an overall appeal to New Zealand viewers to support and vote for the contestants and buy the products associated with the show.
  • America's Idol?

    America's Idol?

    Quadrivium: A Journal of Multidisciplinary Scholarship Volume 4 Issue 1 Issue 4, Spring 2012 Article 6 4-27-2012 America’s Idol? How the Contestant Most Voted for Doesn’t Always Win Jason Gershman Nova Southeastern University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/quadrivium Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gershman, Jason (2012) "America’s Idol? How the Contestant Most Voted for Doesn’t Always Win," Quadrivium: A Journal of Multidisciplinary Scholarship: Vol. 4 : Iss. 1 , Article 6. Available at: https://nsuworks.nova.edu/quadrivium/vol4/iss1/6 This Article is brought to you for free and open access by the CAHSS Journals at NSUWorks. It has been accepted for inclusion in Quadrivium: A Journal of Multidisciplinary Scholarship by an authorized editor of NSUWorks. For more information, please contact [email protected]. Gershman: America’s Idol? How the Contestant Most Voted for Doesn’t Always About the Author Jason Gershman, Ph.D., associate professor and coordinator of mathematics at the college, earned his Ph.D. in Statistics from Rice University in 2008. His research has recently been published in the proceedings of the Joint Statistics Meetings of the American Statistical Association and the International Conference on Bioinformatics and Computational Biology. His work on analyzing data from reality-television shows including American Idol has been featured in the Washington Post, Sun-Sentinel, Vancouver Sun, and Montreal Gazette. Gershman also has been featured on South Florida's Local 10 (ABC affiliate) and WSVN 7News (FOX affiliate) to talk about his research work in this area and provide expert commentary and predictions.