• The Korean Journal of Archival Studies
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• no.60
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• pp.161-194
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• 2019

In modern society, popular music is becoming a reflection of public consciousness, and due to advances in technology, pop music culture is gradually spreading both quantitative and qualitatively as it provides access to popular music in a variety of different ways. K-pop has become more important to society as it reflects the social status of the day, showing the most active activities and influences at home and abroad. In this study, we revealed the definitions and characteristics of K-POP and K-POP fandom. Then, a survey was conducted on the fandom of BTS, A.R.M.Y, which can represent K-POP fandom. The survey looked at the general perception of K-pop fandom's archives, the current status of its collection and production records, the perception of popular music archives, and the donation and commission of their records. At the results, we proposed utilization plans of K-POP fandom records, for developing popular music archives.

• Cartoon and Animation Studies
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• s.41
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• pp.379-405
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• 2015

The purpose of this thesis is to seek the methodologies for forming the fandoms of the Theatre. For the research, I explain by giving the example of the K-POP, of which the fandom has already been spread. Afterwards, I describe about the items which can substitute the plays and about the limits. By escaping from the passive consumptions, the fandoms have been expanded to the domain in which the culture is reborn. The cultural activities of the fandoms have come out of simply liking the fans, and the domain has been widened to the social activities. In the case of the K-POP, it has gone beyond Korea and has the fandoms in the whole world. Regarding the reasons why the fandoms could be formed in relation to the K-POP, firstly, it is because the project-type stars made by the large-scale agency had existed. Secondly, it is because the methods of accessing the contents had become simple through the online proliferation, such as the YouTube and the SNS's. Lastly, it is because the cultural activities of the fandoms give the joys, thereby continually maintaining the fandoms. If this is substituted for the Theatre, in the case of the Theatre, in order for the large-scale agencies to make the plans for and train the actors and the actresses, there are, somewhat, the excesses. However, if a PR method suitable for the online environment is developed and if the common joy is given to the audience of the Theatre, there is the possibility that the fandoms can be invigorated regarding the Theatre. Although, with regard to the K-POP and the Theatre, there exist the differences between the contents, if the methodologies of the K-POP fandoms, which have invigorated the fandoms and have been managing stably, are substituted for the plays, the invigoration of the fandoms is possible regarding the Theatre, too.

• Korean Association of Arts Management
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• no.49
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• pp.87-115
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• 2019

The impact of "Korean wave" has gradually expanded in recent years, its spread trend can also be seen in the United States, South America, and even in Europe. As the earliest and largest importer of Korean culture, China's importance is self-evident. Based on the results of empirical analysis, and analyze the importance and satisfaction of each element that makes up the four factors(Music, Dance, Style, Story) with IPA method, as well as the impact of its rankings on K-POP fans phenomenon in China. The results of this study are organized as follows. Firstly, according to the analysis results, only 10.5% of the K-POP fans are male, and K-POP fans are generally young, their age mainly concentrates in the first half of the 20th (49.0%). Secondly, among the survey respondents, 65% of the fans have positive comments on the Korean Wave, most of K-POP fans obtain their idols' information through Internet, and 49.5% have consumption behaviors for their favorite idols. Thirdly, it can be seen from the data of survey results that fans attach the greatest attention to the importance and satisfaction of the melody elements in terms of music, and the performance effect in terms of dance, the appearance is chosen as the priority in terms of styling, as for the last factor, topicality, the broadcasting is the first choice. In view of the formation of the phenomenon of K-POP fans among Chinese Korean fans, by conducting the correlation analysis and research on the importance and satisfaction of each factor through data, this study is with great practical significance in academic research, it can be used as practical and meaningful material for the K-POP fans among Chinese Korean fans.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.51-64
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• 2021

Among global K-pop fandoms Chinese fandom is a longtime and very strong consumer power in the K-pop industry due to its adjacent geographical location and low cultural barriers. Yet, there is a significant lack of research on Chinese K-pop fandom; most of what is available is from the producers' points of view. Research that explores the position and experience of Chinese fans, who are both mass audience and consumers, is slow to emerge. Thus, there is a need for systematic and careful study of Chinese K-pop fandom. In this research, we conducted a phenomenological study of the experience of Chinese fans of K-pop culture. We conducted participatory observation and in-depth interviews (including a FGI) with Chinese superintendents and active participants in Chinese K-pop fan clubs and fan pages. We then coded the data, following the theory of fandom developed by scholars such as Fiske (1992), and analyzed the phenomenon of Chinese K-pop fandom from the frame of the overall societal environment. We considered the psychological and behavioral characteristics of Chinese fans and the influences they receive from their turbulent social environments. We also considered the expectations of and opinions on the development of K-pop culture from their perspective. Based on our findings, the significant role and influence of independent fans and interdependent fandom in the development of K-pop culture and industry are identified. Finally, we emphasize that the role as facilitators of K-pop agencies is critical in the establishment of communication and trust between fans, K-pop artists, and the agencies.

• Korean journal of communication and information
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• v.81
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• pp.272-298
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• 2017

This study aims at understanding Korean fans who are also one of the most inquisitive consumers of the Korean pop products. For this purpose, it examines how Korean fandom perceives the procedures of the K-pop's globalization and constructs different perspectives of foreign fans. Firstly, it examines Korean fandom's the national pride as the K-pop expands to the global markets. Secondly, it explores how the Korean fandom rationalizes its possessive instinct while the global fans and markets becomes increasingly important. Finally, it explores how the Korean fandom constructs the different perceptions on foreign fans. In order to observe korean fans' thoughts and activities, it participates in the interactions in the tweeters and an online community. The Korean fans' perspective reflects both on individual tastes and the social dimensions in which fans live through. Through the lens of the Korean fandom, this study attempts to explicate the Korean fans' perception on foreign fans, which reflects another dimension of the K-pop's globalization.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.125-137
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• 2012

In this paper we draw from recent theoretical discussions of fan culture and the new media technologies to explore how online communities contribute to new forms of K-pop fandom. We suggest that these online sites play an important role in setting the new stage of dissemination and dialogue of K-pop knowledge, through which particular forms and spaces of online fan culture are being created and sustained. Moreover, these web-based communities challenge the existing concepts that have embraced interrelations between culture, consumption and technology. Based on an empirical study of YouTube, carried out using netnographic methods, this study tackles the following questions: how fans construct themselves as Korean pop fans through the online activities; how they exchange information and opinions of Korean stars; and, what meaning they extract from online file-sharing activities.

• Journal of the Korea Society of Computer and Information
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• v.27 no.7
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• pp.137-144
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• 2022

This study is an empirical study on whether the interval of K-pop content updates and price changes consumer purchasing intentions for domestic fandom commerce platforms that turn their profit structure online and strengthen fandom-based marketing to cope with changes in the digital environment. FGI and a survey was conducted using a conjoint analysis designed to confirm the difference in price elasticity according to the content update interval. As a result, the price elasticity of K-pop content was found to be an inelastic characteristic, and the change in price elasticity according to the content update interval was not statistically significant. This study provides basic data to be used to establish a marketing strategy for the fandom commerce market that will grow in the future.

• Journal of Public Diplomacy
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• v.3 no.1
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• pp.1-19
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• 2023

Objectives: This study aims to discover how the spread of K-POP and the diversification of the Korean Wave affects Korea's national reputation. K-POP stars are diversifying their interactions with fandom by creating an online space to consume various products and services related to their stars and engage in fan activities. Because of this, this study aims to examine the relevance of K-POP to national reputation through a parasocial relationship with K-POP stars by fandom forming a community and utilizing media. Methods: An online survey was conducted in English using the Amazon survey company Mechanical Turk for BTS fans living in the United States. A total of 195 people's data, excluding incomplete responses, were used for the analysis. Results: It was found that BTS fans' social media participation activities themselves did not directly affect Korea's national reputation. But the mediating effect of BTS fans' parasocial relationship was found. That is, BTS fans' social media participation activities had a positive effect on their parasocial relationships with BTS which in turn had a positive effect on their national reputation. Conlusions: The use and participation of BTS fans in social media in Korea's national reputation has no significant effect on itself, but it has been found that it affects the national reputation through forming parasocial relationships. From the study results, the parasocial relationship of K-POP fans can be used as a strategic mechanism to enhance the national image and Korea's national reputation.

• Trans-
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• v.12
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• pp.173-222
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• 2022

This thesis examines the 'universe' acceptance phenomenon, currently used as a content strategy in the K-pop field, from the perspective of K-pop audiences, and then attempts to identify their experience of acceptance and the meaning of the universe. For this, tweets related to the universe acceptance experience of Aespa, the group utilizing the universe as a content strategy the most actively, were collected, and this data was analyzed according to a phenomenological approach, an approach to explore the structure of personal experience and the essence of a phenomenon. As a result of analyzing using Moustakas' method, the semantic structure of the universe acceptance phenomenon of K-pop audiences was derived based on 21 thematic units. It was found that current K-pop audiences are experiencing active cultural consumption rather than unilateral or passive through acceptance of the universe. This means that K-pop audiences have the characteristics of active audiences that produce meaning, interact with other fans, and exert influence on outside of community. At the same time, these characteristics affect acceptance of the universe. Simultaneously, through active acceptance experience, it is found that K-pop audiences give a new meaning in the K-pop universe, as "marketing assets", "fandom community assets", and "K-pop industry expansion assets." Among them, the recognition of 'marketing assets' was reaffirmed as a basis for supporting related previous studies. In addition, it derived the new values of the universe in the K-pop field by discovering the meaning of "fandom's specific assets" and "assets of the K-pop industry for expansion". These meanings had not been found that previous studies from the producers' point of view. And then, for the purpose of expanding the value of the universe in the future, it was discussed the direction of the new meaning of the universe. Finally, this study is meaningful in that it revealed the semantic structure of the universe acceptance phenomenon and discovered a new meaning of the universe in the K-pop field. Additionally, it was intended to contribute to expanding the field of research by suggesting various follow-up studies from various perspectives.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.605-616
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• 2022

Given that the current Idol fandom has been enormously affected by the development of digital technology such as the Internet, mobile or social media, this study explored how generational fandom culture has been shifted depending on the fandom's use of differential online platforms and services, i.e., online community vs. social network services. The survey results indicate that 3^rd generation fandom showed significantly greater intimacy, greater attachment/worship, greater similarity toward Idol stars as well as greater fandom loyalty and greater fandom identity than 1^st and 2^nd generation fandom. Similarly, compared to online community centered fandom, social network centered fandom showed greater intimacy, greater attachment/worship, greater similarity as well as greater fandom loyalty and identity than community-centered fandom.