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El K-Pop Y La Interacción Parasocial En España

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El K-Pop Y La Interacción Parasocial En España TESIS DOCTORAL 2020 - UNIVERSIDAD DE MÁLAGA EL K-POP Y LA INTERACCIÓN PARASOCIAL EN ESPAÑA: EL FENÓMENO FAN EN INSTAGRAM JULIA RODRÍGUEZ CASTILLO DIRECTORA: ANA ALMANSA MARTÍNEZ Doctorado Interuniversitario en Comunicación de las universidades de Málaga, Cádiz, Huelva y Sevilla en la línea de Publicidad y Relaciones Públicas AUTOR: Julia Rodríguez Castillo https://orcid.org/0000-0003-4379-9820 EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es UNIVERSIDAD DE MÁLAGA, ESPAÑA Facultad de Ciencias de la Comunicación 2017-2020 Tesis Doctoral EL K-POP Y LA INTERACCIÓN PARASOCIAL EN ESPAÑA: EL FENÓMENO FAN EN INSTAGRAM Programa de Doctorado: Doctorado Interuniversitario en Comunicación de las universidades de Málaga, Cádiz, Huelva y Sevilla en la línea de Publicidad y Relaciones Públicas DOCTORANDA: JULIA RODRÍGUEZ CASTILLO DIRECTORA: ANA ALMANSA MARTÍNEZ Dra. Dña. Ana Almansa Martínez, Profesora Titular de Universidad, adscrita al Departamento de Comunicación Audiovisual y Publicidad, de la Universidad de Málaga, como tutora y directora de esta tesis doctoral, realizada por Dña. Julia Rodríguez Castillo, INFORMA QUE: Una vez finalizada la investigación y conforme a la normativa vigente, AUTORIZA la presentación y defensa de la tesis, por considerar que reúne los requisitos formales, científicos y de originalidad necesarios para ser defendida ante el Tribunal constituido al efecto, para la obtención del Grado de Doctor. Para que conste a los efectos oportunos, firma el presente informe en Málaga, a 11 de enero de 2021. Fdo. Ana Almansa Martínez Escuela de Doctorado DECLARACIÓN DE AUTORÍA Y ORIGINALIDAD DE LA TESIS PRESENTADA PARA OBTENER EL TÍTULO DE DOCTOR D./Dña JULIA RODRÍGUEZ CASTILLO Estudiante del programa de doctorado PUBLICIDAD Y RELACIONES PÚBLICAS de la Universidad de Málaga, autor/a de la tesis, presentada para la obtención del título de doctor por la Universidad de Málaga, titulada: EL K-POP Y LA INTERACCIÓN PARASOCIAL EN ESPAÑA: LA EXPANSIÓN DEL FENÓMENO FAN EN INSTAGRAM. Realizada bajo la tutorización de ANA ALMANSA MARTÍNEZ y dirección de ANA ALMANSA MARTÍNEZ (si tuviera varios directores deberá hacer constar el nombre de todos) DECLARO QUE: La tesis presentada es una obra original que no infringe los derechos de propiedad intelectual ni los derechos de propiedad industrial u otros, conforme al ordenamiento jurídico vigente (Real Decreto Legislativo 1/1996, de 12 de abril, por el que se aprueba el texto refundido de la Ley de Propiedad Intelectual, regularizando, aclarando y armonizando las disposiciones legales vigentes sobre la materia), modificado por la Ley 2/2019, de 1 de marzo. Igualmente asumo, ante a la Universidad de Málaga y ante cualquier otra instancia, la responsabilidad que pudiera derivarse en caso de plagio de contenidos en la tesis presentada, conforme al ordenamiento jurídico vigente. En Málaga, a 19 de ENERO de 2021 Fdo.: JULIA RODRÍGUEZ CASTILLO Edificio Pabellón de Gobierno. Campus El Ejido. 29071 Tel.: 952 13 10 28 / 952 13 14 61 / 952 13 71 10 E-mail: [email protected] - A mi familia, a mi tutora, a mis amigos. A toda la gente que ha colaborado y apoyado. A Corea por inspirarme y a Seúl por enamorarme. 감사합니다 7 ÍNDICE DE CONTENIDO ABSTRACT ....................................................................................................... 14 INTRODUCCIÓN ............................................................................................... 44 Descripción general del caso ......................................................................... 45 Justificación de la propuesta .......................................................................... 46 Estado de la cuestión ..................................................................................... 47 Estructura de la tesis ...................................................................................... 51 PREGUNTAS DE INVESTIGACIÓN ................................................................. 53 OBJETIVOS ...................................................................................................... 56 1. MARCO TEÓRICO ........................................................................................ 58 1.1. Las Redes Sociales .................................................................................. 59 1.1.1. Las RRSS globalizadas y globalizadoras ............................................ 60 1.1.2. ¿Qué debería cumplir una Red Social? ............................................... 62 1.1.3. El estado de las RRSS ......................................................................... 65 1.1.3.1. Instagram ................................................................................... 68 1.2. Interacción Parasocial .............................................................................. 71 1.2.1. Interacción Parasocial y Social Media ................................................. 73 1.2.2. La Publicidad Parasocial ...................................................................... 74 1.2.3 Famosos, Interacción Parasocial y RRSS ............................................ 75 1.2.4. El Fandom ............................................................................................ 79 1.3. Hallyu ......................................................................................................... 81 1.3.1. Hallyu 2.0 ............................................................................................. 82 1.3.1.1. Definiciones de los contenidos culturales generados de la ola coreana ................................................................................................... 84 1.3.2 El K-Pop ................................................................................................ 92 1.3.2.1 El K-Pop en España y el mundo ................................................ 93 1.3.2.2 K-Pop, Interacción Parasocial y Fantropología .......................... 97 1.3.3 BTS ..................................................................................................... 103 1.3.3.1 La Presencia de BTS en RRSS ............................................... 106 1.3.3.2 La fantropología de BTS .......................................................... 110 2. METODOLOGÍA .......................................................................................... 115 2.1. Análisis de Contenido ............................................................................ 116 2.1.1. Análisis de contenido en la web de los 40 principales ...................... 116 2.1.2. Análisis de contenido en Instagram ................................................... 117 2.2. Entrevista en Profundidad ..................................................................... 120 2.3. Delphi (Panel de Expertos) .................................................................... 121 2.3.1. Biografía de los participantes del Panel de Expertos ......................... 123 2.3.2. Cuestionario del Delphi ...................................................................... 125 3. RESULTADOS ............................................................................................ 128 3.1. Evolución y estado del K-Pop ............................................................... 129 3.2. El ciberfandom de BTS en España ....................................................... 132 3.3. El K-Pop como campaña institucional ................................................. 141 3.4. Delphi: El K-pop es España y su tendencia ......................................... 144 4. CONCLUSIONES (EN ESPAÑOL) ............................................................. 161 CONCLUSION (IN ENGLISH) ......................................................................... 170 REFERENCIAS ............................................................................................... 178 ANEXOS .......................................................................................................... 187 1. ANEXO 1. Análisis de Contenido en la web de los 40 principales ........ 188 2. ANEXO 2. Análisis de Contenido en Instagram (@bts_spain) .............. 198 3. ANEXO 3. Entrevista en Profundidad ..................................................... 220 ÍNDICE DE FIGURAS FIGURAS FIGURA 1. El Panal de las RRSS ..................................................................... 64 FIGURA 2. Informe BANANA ............................................................................ 94 FIGURA 3. Artículos K-Pop en la web de los 40 Principales ........................... 129 FIGURA 4. Artículos totales y menciones de BTS y Black Pink ...................... 130 TABLAS TABLA 1. Crecimiento RRSS: perfiles en España ........................................... 67 TABLA 2. Ranking de las 3 ciudades españolas con mayor número de perfiles en Instagram ...................................................................................................... 70 TABLA 3. Ficha Análisis de Artículos 40 Principales ....................................... 117 TABLA 4. Ficha Análisis de Cuenta
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