Reshaped, reconnected and redefined: Media portrayals of Korean pop idol fandom in Korea

Kim, Ju Oak

doi:10.1386/jfs.3.1.79_1

Cited by 10 publications

(12 citation statements)

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“…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).…”

Section: Fandommentioning

confidence: 99%

“…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.…”

Section: Fandommentioning

confidence: 99%

“…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).…”

Section: Fandommentioning

confidence: 99%

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Resolving identity ambiguity through transcending fandom

Seregina

Schouten

2016

Consumption Markets & Culture

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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.

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Section: Fandommentioning

confidence: 99%

Section: Fandommentioning

confidence: 99%

Section: Fandommentioning

confidence: 99%

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Resolving identity ambiguity through transcending fandom

Seregina

Schouten

2016

Consumption Markets & Culture

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“…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.…”

Section: Charitymentioning

confidence: 99%

More than K-pop fans: BTS fandom and activism amid COVID-19 outbreak

Kanozia¹,

Ganghariya²

2021

Media Asia

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“…On the internet, engaged K-pop consumers in different regions can experience K-pop content easily and communicate with other fans to share their passion. The active engagement of K-pop fans and their influence on the music industry have therefore been significant, even if K-pop fans and their obsessive behaviours continue to garner public criticism (Kim, 2015; Williams and Ho, 2016). Not only famous cases such as PSY’s “Gangnam Style” (2012), but also many K-pop acts have been able to benefit considerably from the activities of socially networked and engaged consumers (Cha and Kim, 2011; Jung, 2011; Sung, 2013).…”

Section: Literature Reviewmentioning

confidence: 99%

Bonding and spreading

Choi

Burnes

2017

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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, we conducted a qualitative research study 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, we utilised a case-study approach and collected qualitative data by conducting semi-structured interviews. Findings:Our 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, our 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, our 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:We 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 4 and consumption and suggests that the value of goods is a social creation, not merely a manufactured product.

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Reshaped, reconnected and redefined: Media portrayals of Korean pop idol fandom in Korea

Cited by 10 publications

References 0 publications

Resolving identity ambiguity through transcending fandom

Resolving identity ambiguity through transcending fandom

More than K-pop fans: BTS fandom and activism amid COVID-19 outbreak

Bonding and spreading

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