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Masteroppgave Endelig Versjon Entering the Inner Circle An ethnographic analysis of South Korean Winner fans and their relationship with their Japanese counterparts Thea Bakke Master’s Thesis in East Asian Culture and History At the Department of Culture Studies and Oriental Languages, Faculty of Humanities UNIVERSITY OF OSLO June 2016 I II Entering the Inner Circle An ethnographic analysis of South Korean Winner fans and their relationship with their Japanese counterparts Thea Bakke Master’s Thesis in East Asian Culture and History At the Department of Culture Studies and Oriental Languages, Faculty of Humanities UNIVERSITY OF OSLO June 2016 III Copyright Thea Bakke Year: 2016 Entering the Inner Circle – An ethnographic analysis of South Korean Winner fans and their relationship with their Japanese counterparts Thea Bakke http://www.duo.uio.no Print: Reprosentralen, Universitetet i Oslo IV V Abstract Since the rise of the Korean Wave (Hallyu) in the late 1990s there has been plentiful research focusing on how it has been received in anywhere from China to Latin America. What is very little researched about when it comes to Hallyu is how the Korean fans perceive fans from other countries and what affects their relationship with them. This paper takes a deeper look at this, delving into the relationship of Japanese and Korean fans of the 5-member idol group Winner and what influences this. It especially tries to describe how victimhood nationalism might have affected the views of the Korean fans and how they see their Japanese counterparts. Research was conducted through an ethnographic analysis of surveys, and fieldwork in the form of online and on-location observations, and further supported by a brief history of the Korean-Japanese relationship from pre-modern to modern times. Through this research I discovered the difficulties of discovering the real opinions and feelings of the fans I observed and questioned, but in return I was in the end able to conclude with having found what the fans see as the “correct answer” when asked how they view Japan. Future research of this topic might unravel what the actual answer to this question is, which again could be used to look at what the relationship between the further generations of South Korea and Japan might be. VI VII Preface Ever since I went on my first trip to Seoul in January 2009 I was fascinated by the overwhelming world of K-pop. Not only the sharp dance moves and catchy tunes, but also the history behind it was so fascinating and removed from the music I was used to here in Norway. Further trips, exchanges and an internship in South Korea only fed this interest and want to learn more about it, and it brought me to where I am today. The topic of this thesis took many tops and turns before it was narrowed down and decided upon. My first and initial decision was to focus on the Korean Wave, the Hallyu, and the relationship between fans of the same group from different countries. This was a narrow topic and even more so when you limit it to the fans one single group. Originally Winner was not my first choice, but after seeing and hearing so much about the fandom and the complaints and struggles of the fans in their fan club Inner Circle, it peaked my interest. Especially interesting was the way Korean and Japanese fans interacted, something I watched with great interest as I have background both in Japanese and Korean studies. This was also when it hit me that regardless of how much I had been reading up and studying the Korean Wave, there was minimal research done in English on the relationship between Korean and Japanese fans, despite the complicated past of these two countries. It made me more and more curious, and after conducting research in Korea, Japan and Norway, here I am with a thesis written out on the subject. Finally I must extend a big thank you to Professor Vladimir Tikhonov for all his help, advice and support. Names cannot be mentioned here, but I also must thank all Korean Inner Circle members who helped and supported me through my research and for actually taking time to answer my survey. Without you this would have been absolutely impossible. The same goes to my family, my roommates and my travel buddies in all three countries who supported me through the time and headaches it took finishing this. Last, but not least, I hope that what I have discovered through my research can be of interest not only to academics researching fandom, the Korean Wave or the Korean-Japanese relationship, but to fans that want to learn more about the history behind the sparkly, styled and synchronized dancing image we see (mostly) through our computer screens. Thea Bakke Oslo, 2014 VIII IX Contents 1 Introduction .............................................................................................................................. 1 1.1 Behaviour Influenced by the Past ............................................................................................ 2 1.2 Design and Method ....................................................................................................................... 3 1.2.1 What is Ethnographic Analysis? ........................................................................................................ 4 1.2.2 Why fans? .................................................................................................................................................... 5 1.2.3 Why Winner? ............................................................................................................................................. 8 1.2.4 Selecting informants and data .......................................................................................................... 10 1.3 Thesis Structure ........................................................................................................................... 11 2 Theoretical aspects .............................................................................................................. 13 2.1 Victimhood Nationalism ........................................................................................................... 13 2.2 Para-Social Interaction .............................................................................................................. 15 2.3 Moral Economy ............................................................................................................................. 16 2.4 Limitations of the Research ..................................................................................................... 17 3 BacKground ............................................................................................................................. 19 3.1 Pre-colonial Times ...................................................................................................................... 19 3.2 Colonial Past .................................................................................................................................. 22 3.3 Rise of the Hallyu ......................................................................................................................... 23 3.4 Present Situation ......................................................................................................................... 26 3.4.1 Internationalising K-pop .................................................................................................................... 28 4 Analysis .................................................................................................................................... 31 4.1 Observations ................................................................................................................................. 31 4.1.1 On Location Observations .................................................................................................................. 31 4.1.2 Online Observations ............................................................................................................................. 35 4.1.3 Observation results ............................................................................................................................... 37 4.2 Questionnaires ............................................................................................................................. 39 5 Summary and Conclusion ................................................................................................... 44 Sources ............................................................................................................................................ 46 Appendices ..................................................................................................................................... 51 5.1 Questionnaire outline and answers ...................................................................................... 51 5.1.1 Outline ........................................................................................................................................................ 51 5.1.2 Answers ..................................................................................................................................................... 51 5.2 Inner Circle tweets ...................................................................................................................... 71 X 1 Introduction “‘Fandom’ is a portmanteau of ‘fan’ and ‘kingdom’, and evokes an expansive yet playful approach to the ‘territory’ of fannish involvement.”1 In other words, fandom
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