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K-Pop in Latin America: Transcultural Fandom and Digital Mediation
International Journal of Communication 11(2017), 2250–2269 1932–8036/20170005 K-Pop in Latin America: Transcultural Fandom and Digital Mediation BENJAMIN HAN Concordia University Wisconsin, USA This article examines the transnational popularity of K-pop in Latin America. It argues K- pop as a subculture that transforms into transcultural fandom via digital mediation, further resulting in its accommodation into Latin American mass culture. The article further engages in a critical analysis of K-pop fan activism in Latin America to explore the transcultural dynamics of K-pop fandom. In doing so, the article provides a more holistic approach to the study of the Korean Wave in Latin America within the different “scapes” of globalization. Keywords: K-pop, fandom, Latin America, digital culture, Korean Wave The popularity of K-pop around the globe has garnered mass media publicity as Psy’s “Gangnam Style” reached number two on the Billboard Charts and became the most watched video on YouTube in 2012. Although newspapers, trade journals, and scholars have examined the growing transnational popularity of K-pop in East Asia, the reception and consumption of K-pop in Latin America have begun to receive serious scholarly consideration only in the last few years. Numerous reasons have been explicated for the international appeal and success of K-pop, but it also is important to understand that the transnational and transcultural fandom of K-pop cannot be confined solely to its metavisual aesthetics that creatively syncretize various genres of global popular music such as Black soul and J-pop. K-pop as hybrid music accentuated with powerful choreography is a form of visual spectacle but also promotes a particular kind of lifestyle represented by everyday modernity in which social mobility in the form of stardom becomes an important facet of the modernization process in Latin America.
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An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California
UCLA UCLA Entertainment Law Review Title Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California Permalink https://escholarship.org/uc/item/88z2z7wm Journal UCLA Entertainment Law Review, 20(2) ISSN 1073-2896 Author Tsai, Patricia Publication Date 2013 DOI 10.5070/LR8202027172 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Tal- ent Agencies Act of California Patricia Tsai* The 360 deal has been an attractive option for music labels in the United States to gain traction in the faltering music industry, but po- tential legal obstacles may hinder the incentive to enter into the deals both for the label andfor the artist. Labels entering into 360 deals may find themselves liablefor violating the Seven-Year Statute or the Talent Agencies Act (TAA). With 360 agreements becoming more popular, labels should turn to an existing music industry that has dealt with the potentiallegal problems of 360 dealsfor years. The Korean pop industry, commonly called "K-pop, " has taken advantage of a 360-deal-like model for many years, and as a conse- quence, many Korean labels have experienced the potential legal prob- lems that American labels may face. Particularly,the legal problems faced by S.M Entertainment, a talent agency and music label giant in South Korea, as a result of their contract with TVXQ, a popular and hugely successful boy band,reveal exactly the type ofpotential liability faced by American music labels.
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Downloading and Streaming Has Been Taking a Toll on Music Producers and Artists
UC Berkeley Berkeley Undergraduate Journal Title Feminist Fans and Their Connective Action on Twitter K-Pop Fandom Permalink https://escholarship.org/uc/item/4c09h7w1 Journal Berkeley Undergraduate Journal, 33(1) ISSN 1099-5331 Author Lee, Yena Publication Date 2019 DOI 10.5070/B3331044275 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Berkeley Undergraduate Journal 1 FEMINIST FANS AND THEIR CONNECTIVE ACTION ON TWITTER K-POP FANDOM By Yena Lee Feminist Fans and Their Connective Action on Twitter K-pop Fandom 2 Berkeley Undergraduate Journal 3 fandoms5. Mel Stanfill6 questions the broad tendency in fandom studies to cast fans as rebels by showing how fans not only comply but also reinforce the stereotypes that mainstream culture projects against fans. In the same Introduction vein, Sophie Charlotte van de Goor7 reveals the constructed nature of fan communities by studying how members of 4chan/co/ and Supernatural slash communities adhere to the internalized notions of “normal behavior” as The past three years have been a time of painful awakening for Korea as the country has witnessed an unprece- defined by mainstream distinctions of good and bad fan practices. By analyzing the feminist counterpublic on dented polemical gender war in Korean society. Within the K-pop fandom, a series of fan-initiated hashtags such Twitter K-pop fandom in relation to the fandom discourse surrounding the movement, this research expands upon as #WeWantBTSFeedback have publicized the demand for feedback for issues of misogyny in idol start texts1 the aforementioned studies on intra-fandom tension to explore how some K-pop fans protested against and even and the K-pop industry.
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A Feminist Political Economy of the Korean Popular Music Industry
A Feminist Political Economy of the Korean Popular Music Industry by Hyejin Jo M.A., Hankuk University of Foreign Studies, 2016 B.A., Hankuk University of Foreign Studies, 2013 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 © Hyejin Jo 2019 SIMON FRASER UNIVERSITY Summer 2019 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Approval Name: Hyejin Jo Degree: Master of Arts Title: A Feminist Political Economy of the Korean Popular Music Industry Examining Committee: Chair: Daniel Ahadi Lecturer Dal Yong Jin Senior Supervisor Professor Martin Laba Supervisor Associate Professor Ju Oak Kim External Examiner Assistant Professor Department of Psychology and Communication College of Arts and Sciences at Texas A&M International University Date Defended/Approved: July 12, 2019 ii Abstract Gender disparity is an emerging issue in contemporary South Korea. Despite the significant increase in gendered concerns, there has been a lack of discussion on gender inequality problems in the Korean popular music industry. For this reason, this thesis aims to investigate gender inequalities and power relations embedded in the male-dominated Korean popular music industry by analyzing the texts, images and music of Korean girl groups through the lens of a feminist political economy. In doing so, this study utilizes textual analysis in order to examine how gendered hierarchy and patriarchal power, acting as industrial practices, exploit Korean girl groups in the Korean popular music industry.
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Modular Geometric Organism: the Amoebic Movement in K-Pop Performance
Jeremy Chang-ling Hsu Modular Geometric Organism: The Amoebic Movement in K-Pop Performance Abstract In this article I consider K-Pop music videos a newly contagious amoeba to explore how K-Pop performance moves us and how its amoebic body moves in and out of the screen. Using research drawn from Posthumanism, I argue that technics opens up the border of human body through programmability, promoting the cyborgian assemblage that suggests the mobility of technics and the technicity of human bodies. In particular, I focus on the choreography of K-Pop, which I argue is a modular geometric organism that consists of human prosthesis and shares the same quality of the amoebic movement, in order to suggest that this contagious media is able to extend its pseudopods to engulf viewers while listening, watching, and recreating the performance. Due to the immersiveness of K-Pop performance videos, their amoebic movement is perceived more easily, and reshapes the relationship between the viewers and the videos, creating a new organism in their digital circulation. K-Pop, as one of the strongest popular cultural same choreography, soundtrack, facial expressions trends, breaks the obstacle of language and creates of the artists, and camera movement, while the a newly contagious vibe through its catchy songs only difference is the outfits on the performers that and synchronization of memorable choreographies. marks the distinction of space and time. The visuals of K-Pop performance is known to be As Steven Shaviro stated in Connected, Or orderly arranged, creating a symmetrical, harmonic What it Means to Live in the Network Society, “a movement that reshapes human bodies, and the network is a self-generating, self-organizing, self- extreme measures that allow for this presentation sustaining system.”1 This system functions like an are intense training or strict diet plans executed by organism that passes on its genetically identical the entertainment agency.
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Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
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K-Pop – What’S in a Name?
K-pop – What’s in a Name? ACADEMIC ARTICLE: ROUNDTABLE Ed. Dr. Candace Epps-Robertson Assistant Professor of English and Comparative Literature, University of North Carolina at Chapel Hill (United States) Ed. Katie Hulme Physicist by day, (amateur) poet by night (United States) Introduction What is a “Roundtable”? A rhizome consists of a multitude of interconnected nodes — and while those nodes might have more that connects than divides them, individual nodes don’t always agree. Learning means being in conversation with one another. Our perspectives are often shaped by our immediate networks and personal experiences, and it never hurts to take a step back and invite some voices to the table — especially those we might not otherwise hear, and those that bring wisdom, experience, and specialized knowledge into the conversation. “ ” 양극화 세상에서 가장 추한 꽃 “Polarization, the ugliest flower in the world” (Agust D, 2020) We have all witnessed heated and emotionally charged debates ignited by particular topics, fueled by the anonymity and speed afforded by social media. Discussions can quickly become polarized, and when polarization begins to play, discourse often begins to falter. Slowing down, taking time to pause, engaging with the ideas of others, and listening are essential to growth and creating new knowledge. The most famous roundtable is probably that of the legendary King Arthur, who insisted that his knights sit at a roundtable because such a table has no head — thus no designated leader. The purpose of a roundtable is to invite individuals into a space where the notion of “us” and “them” is temporarily dispelled, and each voice is given an equal platform to articulate itself.
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Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung
Vassar College Digital Window @ Vassar Senior Capstone Projects 2012 Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Part of the Film and Media Studies Commons Recommended Citation Leung, Sarah, "Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music" (2012). Senior Capstone Projects. 149. http://digitalwindow.vassar.edu/senior_capstone/149 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Media Studies Senior Thesis Thesis Adviser: Tarik Elseewi April 20, 2012 Chapter List: I. Going with the Flow: K-Pop and the Hallyu Wave…….…………………………………2 1. Introduction…………………………………………………..……………………2 2. So What is K-Pop? Local vs. Global Identities……………...…………….…….10 II. Making the Band: K-Pop Production………………….…….…….….….………………25 1. The Importance of Image……………………………………………..………….25 2. Idol Recruitment, Training, and Maintenance………………………….…..……28 III. Around the World: Patterns of K-Pop Consumption…………….….….…….………….34 1. Where is K-Pop being Consumed? …………………….….…………………….34 2. Interculture, Transnational Identity, and Resistance……...……………….……..42 IV. Crazed! The “Pop” in K-Pop………………………………………………………….…48 1. H.O.T.? Issues of Gender and Sexuality in K-Pop’s Appeal……..…..………….48 2. Fan Culture and Media Convergence………………...……………………….…69 V. Conclusions……………………………………………..………………………….…….77 Bibliography…………………………………………………………………………………85 Leung 1 I.
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Hallyu Wave (한류 웨이브 ) As a Major Motivation to Learn
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Peran Duta Merek Grup Musik Wanita Korea Blackpink Untuk Brand Awareness Shopee Skripsi
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Pop Cultures: a Comparative Analysis of the American and South Korean Record Industries
POP CULTURES: A COMPARATIVE ANALYSIS OF THE AMERICAN AND SOUTH KOREAN RECORD INDUSTRIES by Kanel Marchand A Thesis Proposal Submitted to the Faculty of College of Business In Partial Fulfillment of the Requirements for the Degree of Master of Science Florida Atlantic University Boca Raton, FL May 2017 Copyright 2017 by Kanel Marchand ii ACKNOWLEDGEMENTS I wish to express my utmost gratitude to my committee members not only for their guidance and encouragement throughout the research and writing process of this manuscript, but also for the knowledge and support they have provided as professors in the Music Business Administration program. Your service is invaluable. I also wish to thank the Florida Atlantic University staff and faculty, in particular my advisor Dr. Marc Rhorer, for their assistance during my graduate career. iv ABSTRACT Author: Kanel Marchand Title: Pop Cultures: A Comparative Analysis of the American and South Korean Record Industries Institution: Florida Atlantic University Thesis Advisor: Dr. Ira Abrams Degree: Master of Science Year: 2017 As the oldest recording industry in the world, the United States has set industry standards regarding record labels, publishing, live entertainment and music services. Since the beginning of the 20th century, American music has become a staple in worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music industry has held the number one position in the ranking of the world’s top 10 largest music markets since its first record label, Columbia Records, was founded in 1887. However, a relatively new genre of music is rapidly taking over the world’s pop music scene: South Korean pop music, otherwise known as K-pop.
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