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Reshaped, reconnected and redefined: Media portrayals of Korean pop idol fandom in Korea
Abstract
This article examines how Korean pop (K-pop) idol fans develop their public image through the construction of participatory culture. K-pop idol fans, mostly teenaged girls, have long-provoked criticism in Korean society due to their fanatic behaviours. In the late 2000s, however, the
transnational popularity of K-pop idol groups encouraged the public to reconsider the negative stereotype of K-pop idol fandom. This social atmosphere is indebted to news journalism, which sheds light on the contribution of fan communities in the K-pop music industry. Donation activities are
one of the main items that journalists focus on in covering idol fan communities. Through an analysis of news articles, this article argues that Korean idol fandom strategically employs donation activities in order to reshape stereotypes about idol fandom, reconnect with the public and redefine
the notion of idol fandom in Korean society.
... There have been many notable examples of fan activism by music fans throughout years, as we have seen artists such as Lady Gaga with gay rights and U2 with antipoverty campaigns [38]. It is also prevalent among Korean popular music (K-pop) fans who have "long-provoked criticism in Korean society due to their fanatic behaviours" [41]. According to Kim [41], the public started to reconsider this negative stereotype of K-pop idol fandom in the late 2000s due to the transnational popularity of K-pop groups and fans' philanthropic actions. ...
... As fans build up various types of skills, knowledge, distinctions, and vocabulary as a fandom, they recognize the rules of their culture [28]. Because it is common for Korean media to cover news related to K-pop fan communities [41], ARMY is often found reminding each other that "ARMY are the faces of BTS" [48]. Part of K-pop fandoms' participatory culture focuses on the responsibility to build their public image [41,48]. ...
... Because it is common for Korean media to cover news related to K-pop fan communities [41], ARMY is often found reminding each other that "ARMY are the faces of BTS" [48]. Part of K-pop fandoms' participatory culture focuses on the responsibility to build their public image [41,48]. For ARMY, this has led to creating etiquette campaigns that instill "rules of proper public behavior, such as not littering around the [concert] venue, not standing on the spectator seats, and to be polite when other singers perform" [48]. ...
... Fandom has been strongly linked to building and understanding one's identity (Spigel and Jenkins 1991;Jenkins 2006aJenkins , 2006b2007;Sandvoss 2005;Smith, Fisher, and Cole 2007;Chung et al. 2008) through its strong affective state (Grossberg 1992), its connection with values (Tulloch and Jenkins 1995), and the support it lends to generating, articulating, and understanding meaning (Jenkins 2006a(Jenkins , 2014Kim 2015). Its limited context makes emotions and experiences easily accessible, shapes behavior and norms (Jenkins 2007), and allows individuals to form relationships (Jenkins 2006b). ...
... The concept of habitus has also been used in studying fandom, mostly to discuss the similarities and differences between fan culture and 'normal' culture, the former of which usually takes on the role of the 'other ' (e.g., Fiske 1992;Kim 2015). Jenkins (1992) criticizes this point of view, stressing that the division between fans and non-fans creates a negative, disempowering image of fandom and supports its reigning stigmatization. ...
... Freedman et al. 2013). Fandom can similarly provide models for social and cultural practices through its ties to mainstream culture (Johnston 2015), and its ability to reconcile tensions between one's private and public lives (Spigel and Jenkins 1991) as well as individual and collective memory (Yockey 2013;Kim 2015). This allows meaning creation (Jenkins 2006a(Jenkins , 2006b, reflection, self-projection (Sandvoss 2005), and self re-imagining (Jenkins 2014 Research on fandom crosses various consumption contexts, usually focusing on only one phenomenon (Hills 2014). ...
Identity construction involves accumulating cultural, social, and symbolic capital, with initial endowments being accrued through socialization into one’s habitus. This research explores the experiences of individuals that feel a lack of capital, which leads to ambiguity regarding their identities and places in the world. Through in-depth interviews, this interpretive research shows that such individuals may turn to fandom for gaining status and belonging. Fandoms are consumption fields with clear, limited forms of cultural capital. Through serial fandom and engagement with fandom in different ways, individuals were able to learn the skill of identifying and accruing relevant cultural capital. The skill became decontextualized and recontextualized, allowing individuals to transcend fandom and accrue general forms of cultural capital. Learning the skill aids individuals in dealing with the simultaneously debilitating and empowering freedom of contemporary consumer culture. Moreover, gaining cultural capital could be altogether developing into the form of the process we describe.
... Selama beberapa tahun terakhir, fandom seperti penggemar Korean Pop (K-pop), telah mencoba meningkatkan citra mereka dengan berbagai cara. Salah satu taktik utama yang dilakukan adalah melakukan penggalangan dana untuk amal (Kim, 2015). Hal ini didukung oleh era media digital yang memungkinkan khalayak menjadi pengguna aktif. ...
... Melalui konstruksi budaya partisipatif, posisi fandom menjadi lebih kuat di industri hiburan. Namun, di sisi lain, fandom secara konsisten terpinggirkan oleh masyarakat arus utama, terlepas dari partisipasi aktif dan kontribusi mereka dalam industri budaya (Kim, 2015). ...
Fandoms often carry out social activities to maintain their positive image, one of which is through digital media. This study explores how fandom uses digital media to carry out activism. This research was conducted using a qualitative approach. Meanwhile, the method used is a case study. To analyze the data, the researcher used the concept of digital activism. Based on the analysis, it is found that the use of certain momentum that is closely related to a group can support the success of digital activism. In addition, the message that is disseminated to carry out persuasion is important to be narrated by touching the emotional side of the individual. Transparency in the implementation of digital activism is also something that needs to be managed properly to support the success of digital activism being carried out.
... According to (Kim, 2015), Korean pop (K-pop) idol fandom is an especially intriguing case study examining how admirers negotiate with the public regarding the socially acceptable use of popular culture. Since the mid-1990s, when the idol music industry rose to prominence, the media has concentrated on exposing the shady side of K-pop idol followers (81). ...
This research aims to discuss the phenomenon of fan wars between fans of a K-pop group and fans of other K-pop groups. Furthermore, it explores the reasons and purposes of this incident among K-pop fans, using the observation method based on Stuart Hall's Encoding-Decoding theory. This research will analyze several fan war cases that occurred some time ago. The results of this study indicate that the fan war phenomenon has several ways, like replying to each other's comments on social media using insulting and harsh words commonly known as flaming, making tweets that bring down idols from other fans, and making videos containing hoax news. The interference of toxic fans from each fandom is the reason this fan war can happen, and the selfish nature of each fan who wants to show their prowess to other fans is their main goal. Ultimately, this phenomenon is just a form of selfishness from every fan toward their idol.
... This might be a reason why ARMY contributes to civic causes. These fan activities According to Kim (2015), K-pop industry fandoms were usually seen in a negative light as followers were considered mere fanatics. But when fans and their respective fandoms started to engage in activities such as philanthropy, activism and supporting social causes, this preconceived notion regarding the notorious fan behavior appears to be changing. ...
This book focuses on film tourism: the phenomenon of people visiting locations from popular film or TV series. It is based on a unique, Asian perspective, encompassing case studies from around the pan-Asian region, including China, Taiwan, India, Japan, South Korea, Thailand, Hong Kong, Indonesia, and Singapore. By focusing emphatically on film tourism in the non-West, this book offers a timely and crucial contribution to a more comprehensive understanding of the relation between film, culture and place, particularly in light of the increased volume of media production and consumption across Asia, and the consequent film tourism destinations that are currently popping up across the Asian continent.
The popularity of film tourism, the phenomenon of people travelling to locations or sites because of their association with a movie or TV series, has risen dramatically over the last decade. Arguably, this is not a new phenomenon, as the film and TV industries, with their integral system of stardom and fandom, have influenced people’s mobility and tourism practically from the advent of cinema. The rise of the film industry and its stars in the 1920s led to a similar fascination with film locations and the film stars’ Hollywood mansions. Also, groups of tourists have visited locations they associate with popular novels and authors since at least the late nineteenth century. Literary tourism is often considered a precursor to film tourism (Herbert 2001; Seaton 1998; Watkins and Herbert 2003). Since the late twentieth century in particular, the majority of TV and film scripts have been inspired by or directly based upon classic literature. Some examples include The Lord of the Rings (2001–2003), Harry Potter (2001–2011) and Jane Eyre (2006, 2011).
Purpose
Although social media proficiency and use are key business and marketing practices in today’s digital environment, research has failed to offer sufficient insights into what drives small firms to use social media and how they vitalise co-creative social media environments with consumers. In response, the purpose of this paper is to examine how small firms utilise social media to interact and build bonds with consumers. These bonds become an important tool in the development of successful, profitable businesses and marketing practices in the digital age.
Design/methodology/approach
To examine how small firms use social media to engage with consumers and vice versa, the authors utilised a case-study approach and collected qualitative data by conducting semi-structured interviews.
Findings
The results showed that the small firms in this research seek to establish relationships and facilitate interactions with their core consumers in order to co-create value. In particular, the data demonstrate that producers engage in two distinctive practices: bonding (i.e. cultivating emotional ties with music fans) and spreading (i.e. encouraging expressive circulation by fans). Altogether, the findings indicate that the representative firms in this research use social media to develop synergistic relationships with consumers and to tap into the collective energy of consumers in their business environments.
Originality/value
The authors show that small companies use social media to establish relationships and interact with fans in order to co-create value and vitalise collective consumption, engagement, and participation. The case blurs the traditional distinction between production and consumption and suggests that the value of goods is a social creation, not merely a manufactured product.
This article discusses the fractious relationship between the British recording artist Morrissey and his online fan community. Following increasing criticism of the artist and his material during 2011, and growing impatience with his controversial public pronouncements, Morrissey has publicly disowned his biggest and longest-running fan site and banned its owner from attending his concerts. I draw on psychological theories of group identity and relationships to try to explain why the relationship between Morrissey and his fans should have deteriorated to such an extent. Also, through a micro- analysis of online exchanges, I consider the Morrissey fan community as a case study illustrating someofthechanges tofandom inthedigitalage thathave mostlybeen studiedwithregardtothefans of cult television series and games. I argue that the online Morrissey community is best explained as a knowledge community in which debate and factionalism play a necessary part, if not always to the taste of its members.
In the wake of globalization and the context of a socialist market economy, youth cultures in China have been undergoing a major transformation. While the youth culture in China has joined the global trend to become more commercialized as a result of emerging values, norms and values of consumption, along with (and going beyond) cultural consumption, liberalizing values have developed among young people which might impinge upon society and politics. Based on a framework of materialistic and non-material labour and an ethnographic study of fandom, this article attempts to investigate the problematic by examining the phenomenon of fandom in China with a case study of the fans of the most popular Chinese singer, Jay Chou, the interaction among which has reflected significant changes in youth culture and youth performativity in China today.
While recent analyses have helped to challenge commonly-held stereotypes of fans of popular cultural texts as freakish individuals ‘without a life’, few studies have focused on texts produced and/or consumed outside the United States and Europe. Even fewer have considered the particular significance of the advent of the internet as a tool for intercultural fan activity. This is what this study attempts to accomplish through an ethnographic and textual analysis of an online community of fans of Kimura Takuya - one of the most popular Japanese male celebrities of the moment - dispersed across 14 countries. It explores, in particular, how participants defined their fan, gendered and cultural/global identities through their involvement with each other and with their favorite star, and negotiated as a group the complex process of virtual cross-cultural identity formation.
The cultural economy is defined in terms of a set of sectors ranging from certain traditional artisanal industries like clothing or jewelry on the one side, to newer media industries like sound recording or television program production on the other. This article provides an overview of the industrial dynamic of French society since the second world war and assesses its (inimical) effects on segments of the cultural economy. An empirical description of the cultural-products industries of Paris is offered, with special reference to their locational structure and their competitive advantages and disadvantages. The entire institutional and policy environment within which these industries operate is then subject to analysis, and I seek to show how many of them have become locked in to dysfunctional competitive strategies. I conclude by suggesting that despite their current difficulties, the cultural-products industries of Paris remain a potential focus of significant new growth and development. Copyright Joint Editors and Blackwell Publishers Ltd 2000.
Studies on Individualism-Collectivism (IND-COL) have documented results contradicting Hofstede's theory. We attribute these theory-data inconsistencies to construct underspecification. Both IND and COL are confounded with similar yet disparate sub-constructs. In the main, this study illustrates that the West and the East do manifest opposite cultural values as Hofstede had initially conceptualized, and this can be empirically observable when utilizing more refined constructs and measurement instruments. This study (a) proposes holism, not collectivism, as a cultural fundamental of East Asia, (b) separates personalism from individualism, and (c) breaks collectivism down into Western group collectivism and Eastern relational collectivism.
Korean popular music (K-pop) fandom may serve as a case study to identify both cynical and utopian views of fans' participatory Net activism by addressing three key aspects: fan activism, cybervigilantism, and Othering mechanisms. Fancom (fan company) in the K-pop scene refers to the way fans systematically manage their own stars. These notions of assertive fancom practices address how fans actively participate in sociocultural events such as fund raising, donating to charity, and volunteering in emergency situations. This management may take another turn, however: antifandom surrounds K-pop star Tablo, signifying cybervigilantism of sinsang teolgi (personal information theft), a term referring to the online activities of a group of netizens who seek to expose the personal details of perceived wrongdoers by publishing them online as a form of punishment. The Tablo case revitalized public concern over privacy and the security of personal information in the digital era. Finally, Othering mechanisms in participatory online K-pop fandom display a strong sense of nationalism and even racism, as demonstrated by responses to anti-Korean rhetoric posted on the MySpace page of K-pop idol Jae-Beom. This highlights the relationship between participatory Net activism and nationalistic sentiment active within K-pop fandom. Some K-pop fan practices may have negative connotations, but by engaging with specific civic issues and social events, participatory fan practices encourage people to interact, discuss, and challenge conventional discourses, which may lead to new forms of social action.
This conversation started in Prague, the Czech Republic, during a panel moderated by Irena Reifová at the symposium ‘On Empowered and Impassioned Audiences in the Age of Media Convergence’. The event was organized by the Faculty of Social Sciences at Charles University. The text contains a series of discussions. First, there is a conversation about the nature of the participatory democratic utopia and participatory culture and how groups take (or do not take) advantage of the affordances of new and emerging media. It also emphasizes the political nature and potential of popular culture and touches upon its connection to institutionalized politics. Three other key areas are mentioned: the role of different cultures of leadership, the significance of organizations in structuring participatory processes, and the need to enhance civic learning, providing more support for participatory cultures. This is combined with an interlocking discussion about the definition of participation and how it is tied up with power. It covers the differences between participation and interaction, engagement, interpretation, production, curation, and circulation. Finally, there is an underlying strand of discussion about the role of academia, focusing on the relationship between critical theory and cultural studies, the need to deconstruct our own frameworks and the question of which language to use to communicate academic research to the public.
This essay rejects media‐fostered stereotypes of Star Trek fans as cultural dupes, social misfits, or mindless consumers, perceiving them, in Michel de Certeau's term, as “poachers” of textual meanings who appropriate popular texts and reread them in a fashion that serves different interests. Specifically, the essay considers women who write fiction based in the Star Trek universe. First, it outlines how these fans force the primary text to accommodate alternate interests. Second, it considers the issue of literary property in light of the moral economy of the fan community that shapes the range of permissible retellings of the program materials.
The Second Edition of this classic work, first published in 1981 and an international bestseller, explores the differences in thinking and social action that exist among members of more than 50 modern nations. Geert Hofstede argues that people carry "mental programs" which are developed in the family in early childhood and reinforced in schools and organizations, and that these programs contain components of national culture. They are expressed most clearly in the different values that predominate among people from different countries. Geert Hofstede has completely rewritten, revised and updated Cultures Consequences for the twenty-first century, he has broadened the book's cross-disciplinary appeal, expanded the coverage of countries examined from 40 to more than 50, reformulated his arguments and a large amount of new literature has been included. The book is structured around five major dimensions: power distance; uncertainty avoidance; individualism versus collectivism; masculinity versus femininity; and long term versus short-term orientation. --Publisher.
Simultaneously celebrated and denigrated, celebrities represent not only the embodiment of success, but also the ultimate construction of false value. Celebrity and Power questions the impulse to become embroiled with the construction and collapse of the famous, exploring the concept of the new public intimacy: A product of social media in which celebrities from Lady Gaga to Barack Obama are expected to continuously campaign for audiences in new ways. In a new Introduction for this edition, P. David Marshall investigates the viewing public’s desire to associate with celebrity and addresses the explosion of instant access to celebrity culture, bringing famous people and their admirers closer than ever before. © 2014 by the Regents of the University of Minnesota. All rights reserved.
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Reshaped, reconnected and redefined: Media portrayals of Korean pop idol fandom in Korea
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Korean pop idol fandom in Korea', Journal of Fandom Studies 3: 1, pp. 79-93,
doi: 10.1386/jfs.3.1.79_1