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View the Thesis Fannish Healing and “the Tentative Step Forward”: Musical Affect and Parasocial Directionalities in BTS Fan Narratives by Tvine Donabedian B.A., Concordia University, 2018 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art and Technology © Tvine Donabedian 2021 SIMON FRASER UNIVERSITY Summer 2021 Copyright in this work is held by the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Tvine Donabedian Degree: Master of Arts Title: Fannish Healing and “the Tentative Step Forward”: Musical Affect and Parasocial Directionalities in BTS Fan Narratives Committee: Chair: Frederik Lesage Associate Professor, School of Communication Dal Yong Jin Supervisor Professor, School of Communication Milena Droumeva Committee Member Associate Professor, School of Communication Chuyun Oh Examiner Assistant Professor, School of Music and Dance San Diego State University ii Ethics Statement iii Abstract Situating itself within the frameworks of musical affect and relational labour, this research examines the healing practices of BTS fans from all around the world. As the biggest Korean musical act to enter the global stage to date, BTS as a group have fostered a unique iteration of the parasocial relationship with their fans and, in doing so, redefined the structures and potentials of the fan-artist relationship. Both through their music and public image, the resulting expansion has allowed fans to create individual networks for affective healing. The purpose of this research is then to establish relational networks as a conceptualization of fannish healing as it is transformed and reappropriated into the lives of individual fans. Keywords: fandom, affect, healing, music, parasocial, K-pop iv Dedication To the seven legends and the gremlin they sent me, 이 모든건 우연이 아냐 v Acknowledgements The completion of this thesis project could not have been possible without the help and support from my supervisor Dr. Dal Yong Jin, as well as the guidance of Dr. Milena Droumeva and Dr. Chuyun Oh. Most of all, I would like to thank Alex Xanthoudakis and Jasmine Proctor for being the mongooses underneath the house when the snakes slither by. I am also eternally grateful to Sevan Donabedian for keeping me grounded and to Shant Donabedian for praying over me. And of course, I want to thank my parents for their constant kindness and patience, and for keeping the Sunday calls coming, even when I didn’t pick up. Finally, I want to thank all of the ARMY who took time to participate in my research. If you’re reading this, please know that I could not have done this without you, and I hope that I have done your experiences and relentless love for BTS justice through this project. vi Table of Contents Declaration of Committee ................................................................................................... ii Ethics Statement ................................................................................................................ iii Abstract ............................................................................................................................. iv Dedication ........................................................................................................................... v Acknowledgements ............................................................................................................ vi Chapter 1. Introduction ............................................................................................. 1 1.1. "Kim Namjoon, I would live for you." .................................................................... 1 1.2. Research Outline ..................................................................................................... 5 Chapter 2. From the Shire to Seoul, There and Back Again: Conceptualizing Backgrounds and Methods in Transcultural K-pop Fandom ........................................ 10 2.1. One Does Not Simply Walk into Fandom (Except That They Do): a fannish history of affect, identity politics, and new media cultures ........................................................... 10 2.1.1. An Overview of Fandom as Community ............................................................................ 11 2.1.2. Studying fandom, a Brief History ...................................................................................... 14 2.1.3. A Note About Affect .......................................................................................................... 17 2.1.4. Affective Online Communities, a Case Against the Imaginary .......................................... 18 2.2. K-pop and the New Korean Wave: transnational flows in transcultural spaces ... 20 2.2.1. K-pop in Context: A Brief History of the Korean Wave(s) ................................................ 21 2.2.2. K-pop as Transnational: A Case for Transcultural Fandom Perspectives Within the Social Distribution Model ............................................................................................................................... 24 2.2.3. BTS .................................................................................................................................... 26 2.3. Methodology .......................................................................................................... 29 2.3.1. The Aca-fan ........................................................................................................................ 30 2.3.2. From Text to Context ......................................................................................................... 32 2.3.3. Interviews ........................................................................................................................... 34 2.3.4. Participant Observation ...................................................................................................... 37 2.3.5. Scope .................................................................................................................................. 38 vii Chapter 3. Musical Affect and the Quest for Connection ......................................... 40 3.1. Music, a Meet-cute................................................................................................. 40 3.1.1. Music, an Affective Duality ............................................................................................... 42 3.1.2. Music, a Semiotic Dilemma ............................................................................................... 44 3.2. The Artist, a Connection ....................................................................................... 48 3.2.1. The Artist as Relatable ....................................................................................................... 50 3.3. Interlude: Psychological Frameworks of Eudaimonic Engagement and the Parasocial Relationship .................................................................................................... 60 3.3.1. “I can’t believe it’s not trash!”: Processing Affective Meaning through Eudaemonic Engagement ......................................................................................................................................... 61 3.3.2. Feeling Is Believing: Affective Investments and the Parasocial Relationships .................. 64 Chapter 4. “The Tentative Step Forward,” Tracing Fannish Healing Behaviours Through Relational Networks ..................................................................................... 69 4.1. Relational Networks, All that Baggage .................................................................. 69 4.1.1. Mythologies of Production ................................................................................................. 70 4.1.2. Mythologies of Place .......................................................................................................... 74 4.1.3. ‘Namjooning’ and place within the relational network ...................................................... 76 4.1.4. Relational Networks: Healing in Good Company .............................................................. 80 Chapter 5. Conclusion .............................................................................................. 85 References .............................................................................................................. 87 Appendix. Interview Questions .................................................................................. 94 viii Chapter 1. Introduction 1.1. "Kim Namjoon, I would live for you." In late October of 2018, Kim Namjoon, group leader of global pop music sensation BTS, released his second solo album entitled mono under the stage name RM. The album, frequently referred to as a mixtape or even a playlist, debuted on the Billboard 200 charts at number 26, dubbing RM the highest-charting Korean solo act on the chart and landing him a number one spot on Billboard Emerging Artists. Despite having little to no promotional precedent, mono went on to top the iTunes charts at number one in 91 countries and, at the time, broke the iTunes records for the Korean Act with the most number one spots secured. The media storm following the release of the album resulted in a multitude of articles highlighting just how different the melancholic flow of mono was from RM’s previous, more aggressive song writing.
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