Wikipedia

User:UoE 24fall wikiwiki/sandbox

  • Comment: Reads like an essay: I'm not even sure what the (encyclopedic) topic would be. Was this a school assignment? Drmies (talk) 01:01, 4 December 2024 (UTC)

Transnational audiences of Korean Wave

edit

Since the beginning of this century, Korean cultural content such as popular music (K-pop), movies, animation, TV shows, webtoons and digital games have become increasingly integrated into the global media landscape. The accelerated advancement of the regional cultural industries and the proliferation of Korean popular culture are referred to as Korean Wave, or Hallyu. It signals a novel means of transnational production, distribution, and consumption of popular culture..[1].

The advent of communication technology has enabled transnational audiences to engage with the entertainment industry in a multitude of ways. This is particularly evident in the case of Korean pop culture, where the phenomenon of 'fan-initiated' participation has become a prominent feature.

Global Dissemination of the Korean Wave

edit

Overview

edit

In the development of the Korean wave, the dissemination factor plays an important role. In the 1990s, the Korean wave began as a regional phenomenon. Then, as the popularity of Korean TV dramas expanded to a global audience, the Korean wave started to become an international trend. K-pop, K-drama, and Korean movies integrate traditional Korean elements and global pop culture trends that successfully attract audiences from different cultural backgrounds. The support from the Korean government's policy and the flexibility of the cultural industry are important reasons why the Korean Wave can stand firm in the international market. Moreover, Transnational cooperation, fan-initiated participation, and promotional activities are also considered to be the keys to the success of the Korean wave.

Traditional Media

edit

Traditional media played an essential role in the early stages of the Korean Wave. Take the development of K-pop as an example. The release of TV music programs, movies, and albums (CDs) laid the foundation for the subsequent digital spread of the Korean Wave.

Television music program

edit

From the late 1990s to the 2000s, Korean music TV programs like Inkigayo, Music Bank, and M COUNTDOWN provide a platform for K-pop idols to showcase their performances to more people and gain popularity. Television stations of other Asian countries like CCTV of China and Fuji TV of Japan broadcast these programs about idols, further expanding their influence in the Asian market.

Idols' performances in Korean movies and dramas

edit

Many idols intend to increase awareness through movies and dramas. For example, TVQX! starred in the K-drama VACATION, and Rain starred in the Korean movie Ninja Assassin. Movies and dramas provide the opportunity for idols to show their talent and attract more international fans.

Music albums(CDs), concerts

edit

In the early 2000s, K-pop groups like Super Junior and Girls' Generation sold music albums (CDs) and concert tours in Asia to enter Asia markets like Japan, China, and east-south Asia. Also, the peripheral goods inside the albums (like idols' photocards) further solidify fans' enthusiasm for collecting. At the same time, concert documentaries and commercials of peripheral goods let idols gradually establish their brand image in the international market.

Streaming Media

edit

Digital platforms, including YouTube, Spotify, Netflix, Disney Plus, Bilibili, Apple Music, etc., are seen as the inflection point of the Korean wave. YouTube's global influence allows K-pop music videos, variety shows, and idols' other performance content to spread rapidly around the globe.

YouTube

edit

Since 2009, K-pop idols have started to release music videos on YouTube. Songs like  "Gee" by Girls' Generation and "Fantastic Baby" by BIGBANG became a viral hit. Soon afterward, "Dynamite" by BTS and "How You Like That" by BLACKPINK set a record of 100 million views in a short period. Dance practice videos also became an important way to promote idols. It allows fans to imitate and share the songs and dances, forming a cultural circle.

Spotify, Apple Music, etc.

edit

K-pop groups' music via Spotify and Apple Music this kind of streaming music app wins the attention of European and American markets. Songs like "Butter" by BTS and "Seven" by Jungkook rely on the platform algorithm, enter the audience recommendation stream, and become an international hit. These platforms also let K-pop artists release multilingual songs to adapt to different market needs and expand their influence.

Netflix, Disney Plus, etc.

edit

Many K-pop idols have tried to generate media exposure by appearing in series or releasing their documentaries on Netflix or Disney Plus. Such as BLACKPINK's documentary "Light Up the Sky" and Suga's documentary "Road to D-DAY". These pieces not only show the professional abilities of the idols but also give fans a chance to understand more about their daily lives and careers.

"Hallyu may be one of the first transnational cultural trends that has extensively appropriated the logic of media convergence. With the rapid growth of the Internet, followed by smartphones and social media, including user-generated content platforms (e.g., YouTube), cultural producers have clearly understood the significance of media convergence and actualized it."[2]

Social Media

edit

Social Media has a great impact on expanding the influence of the Korean Wave. Platforms like Instagram, Twitter, and TikTok let fans get to engage, create content, and drive spontaneous publicity. Fans expand K-pop's global impact through translation, secondary creation, and collaborative activities such as streaming parties and trending hashtags. The combination of digital content, algorithms, and fan activity allows the Korean Wave to break through the boundaries of language and geography. Fan-driven digital culture is the core force behind the Korean Wave's global popularity.

Twitter

edit

BTS could be seen as the first K-pop group to actively use Twitter to interact with fans, share their daily life, and post song teasers. Fans get to retweet those posts and achieve the purpose of publicity for them. Also, the hashtag function of Twitter makes it possible for idols' schedules and activities to quickly become hot topics around the world.

Instagram

edit

K-POP idols use Instagram to share their personal lives or fashion outfits to establish their own brand image. The personal accounts of BLACKPINK members such as Lisa and Jennie have become one of the idol accounts with the most followers in the world, and have attracted invitations from major luxury brands. Fans also build secondary communities by leaving messages and sharing, further expanding the idol's influence.

Weverse, Bubble

edit

Platforms such as Weverse and Bubble provide subscription-based services for fans, allowing idols to interact directly with supporters and send exclusive photos, voice messages or live broadcast content.

"By entering the social media-driven space of Hallyu, global fans are networked, share their feelings, and translate the content to move beyond the linguistic and cultural barriers.”[3]

Characteristics of Global Transnational Audiences

edit

Overview

edit

The term "transnational", a prominent concept in the study of contemporary international relations, generally refers to organizations that operate across national borders and function independently of traditional state authorities.[4] "Transnationalism" is described as broadly referring to the 'multiple ties and interactions linking people or institutions across the borders of nation-states'.[5]

Given this, transnational audiences can be defined as groups of viewers who consume media content across national borders, shaped by cultural, political, and economic factors. These audiences engage with television and film from various countries, which in turn contributes to the formation of global entertainment trends and an increasingly interconnected media landscape. The engagement of transnational audiences reflects diverse cultural affiliations and challenges monolithic views of ethnic or national identity.[6][7]

Cross-Border Media Engagement[8]

edit

The advent of new media technologies, such as satellite television and the Internet, has enabled transnational audiences to consume media from a variety of countries. Compared to traditional audiences who were previously exposed solely to content constrained by regional or ethnic identity, transnational audiences are presented with content that reflects a synthesis of cultural influences from disparate regions.

Transnational audiences are not passive consumers but active participants in shaping cultural narratives as they engage with, interpret, and even contribute to media from diverse cultural contexts. This phenomenon challenges traditional notions of cultural identity. Consequently, media content now serves not only as entertainment but also as a platform for cross-cultural dialogue, potentially reducing stereotypes and promoting global awareness.

Cultural Fluidity and Hybridity[7]

edit

Transnational audiences represent both an approach and a result of the cultural hybridity, blending traditional identities of region and ethnic with universal identities in a globalizing world. Media content, as a mode of culture reproduction, shape transnational audiences with fluidity and hybridity through syncretism and bricolage.

Transnational audiences are thus emblematic of the dynamic interplay between the local and the global. This blending of identities is not static but continuously evolves, reflecting the diverse ways individuals navigate and negotiate their cultural affiliations in a globalized world. Such interaction fosters a richer, more nuanced understanding of cultural diversity, while also raising questions about the preservation of local identities in an increasingly interconnected media environment.

Connection and Identity Negotiation[7][8]

edit

In particular for transnational groups that migrate to another country, they utilize media content to maintain connections with their homeland and meanwhile negotiate identities with their host country. This dual participation reflects their attempts to balance the cultural heritage with cultural assimilation into the new sociocultural environment.

In some ways, popular culture functions as both a bridge and a buffer for immigrant transnational audiences. Consuming media content from the host country facilitates their adaptation to new societal norms and values, enabling them to integrate and participate in their new environment. This balancing act underscores the fluid nature of identity, as transnational groups often craft hybrid identities that reflect both continuity with their past and openness to the present. Such media consumption becomes a vital tool for navigating the complexities of cultural adaptation while preserving a connection to one's heritage.

Shifts in Sense of Space and belonging[7]

edit

The consumption of media content across national boundaries has the effect of modifying perceptions of place and belonging. The dissemination of cross-cultural narratives creates virtual social spaces in which geographical boundaries are of less significance.

This transformation enables individuals to engage with diverse cultures and perspectives, fostering a sense of global citizenship. However, reconfiguration of belonging also introduces challenges, such as the risk of cultural homogenization.

Agency in Content Interpretation[7]

edit

Transnational audiences actively interpret and recontextualize media content based on their sociocultural backgrounds. Rather than passive absorption​, their engagement is usually informed by personal experiences and collective identities, which in turn shapes the multicultural landscape.

Impact of Korean Wave on the Transnational Audiences

edit

The Global Spread of Korean Wave

edit

The Korean cultural content industry has grown rapidly, supported by the government. In 2023, the market size of Korea’s cultural content industry was projected to reach approximately $70.9 billion, attributed to the influence of the Korean Wave[9]. Notably, BTS's success on the Billboard Hot 100 became a milestone that highlighted the global appeal of Korean culture[10].

From Traditional Media to Digital Platforms

edit

In its early stages, Korean dramas spread through DVDs and television broadcasts. Winter Sonata, for example, became a major hit across Asia, including Japan, and marked the beginning of the Korean Wave[11].

In recent years, streaming services like YouTube and Netflix have played crucial roles. BTS's Dynamite surpassed 1 billion views on YouTube, facilitating the global dissemination of Korean music[12]. Similarly, Netflix has distributed Korean dramas such as Squid Game and The Glory to worldwide audiences, achieving record-breaking viewership for non-English content[13].

The Impact of Korean Wave on Transnational Audiences

edit

Changes in Media Consumption and Fandom Culture

edit

Korean Wave has significantly transformed media consumption patterns. The proliferation of social media has accelerated the popularity of K-POP, transforming fans from passive viewers into active producers and disseminators of content. Fans eagerly consume and share a wide array of media, including performance videos, reality shows, and live streams on social platforms[14][15].

This shift has enabled K-POP fandoms to function as "participatory media." Fans not only purchase music and CDs to boost their favorite artists’ standings but also engage in activities like voting for music show rankings and spreading information on social media, fostering a deeper connection with artists[16][17].

Consequently, fan networks have strengthened, enhancing their sense of community.

Changes in Consumer Behavior

edit

Increased Purchase Intentions

edit

The growing popularity of K-POP has enhanced interest in Korean products. Studies have shown that consumers influenced by K-POP demonstrate a strong intention to purchase Korean cosmetics, fashion, and food. For instance, research confirms that K-POP has a significant impact on consumer purchase intentions[18][19]. A notable case is BLACKPINK's Lisa serving as a brand ambassador for Korean cosmetics brand Moonshot, which saw sales multiply several times over as a result[20].

Challenges and Criticism

edit

Cultural Homogenization

edit

While the rapid spread of Korean Wave has expanded cultural influence, it has also raised concerns about cultural homogenization. Korean pop culture’s dominance may overshadow and diminish the presence of local cultures, particularly in Asia. The unidirectional influx of Korean Wave risks eroding cultural diversity[21]

Commercialization of K-POP

edit

The K-POP industry has faced criticism for excessive commercialization. Idols are under constant pressure to deliver new content to meet fan expectations, which can compromise their artistic creativity. This issue is compounded by the rigorous training idols undergo even before their debut, as they make significant sacrifices in pursuit of commercial success[22][23]

Labor Conditions of Idols

edit

The labor conditions of K-POP idols are widely regarded as harsh. Many endure long hours of practice and grueling schedules, which often take a toll on their mental and physical health. Surveys indicate that approximately 52% of idols have experienced mental health issues during their careers[24].These circumstances have been described as a system that exploits the “dreams” of idols, highlighting the urgent need for reform.

Reference

edit
  1. ^ Han, Benjamin M. (2021-09-30). "Jin, D. Y., Yoon, K. Y., & Min, W. (2021). Transnational Hallyu: The Globalization of Korean Digital and Popular Culture. Rowman & Littlefield". Asian Communication Research. 18 (2): 126–130. doi:10.20879/acr.2021.18.2.126. ISSN 1738-2084.
  2. ^ Han, Benjamin M. (2021-09-30). "Jin, D. Y., Yoon, K. Y., & Min, W. (2021). Transnational Hallyu: The Globalization of Korean Digital and Popular Culture. Rowman & Littlefield". Asian Communication Research. 18 (2): 126–130. doi:10.20879/acr.2021.18.2.126. ISSN 1738-2084.
  3. ^ Han, Benjamin M. (2021-09-30). "Jin, D. Y., Yoon, K. Y., & Min, W. (2021). Transnational Hallyu: The Globalization of Korean Digital and Popular Culture. Rowman & Littlefield". Asian Communication Research. 18 (2): 126–130. doi:10.20879/acr.2021.18.2.126. ISSN 1738-2084.
  4. ^ Thiel, Markus; Maslanik, Jeffrey (2010-03-01), "Transnational Actors", Oxford Research Encyclopedia of International Studies, doi:10.1093/acrefore/9780190846626.001.0001/acrefore-9780190846626-e-105, ISBN 978-0-19-084662-6, retrieved 2024-11-29
  5. ^ Vertovec, Steven (1999-01-01). "Conceiving and researching transnationalism". Ethnic and Racial Studies. 22 (2): 447–462. doi:10.1080/014198799329558. ISSN 0141-9870.
  6. ^ "Transnational Audiences - (Critical TV Studies) - Vocab, Definition, Explanations | Fiveable". library.fiveable.me. Retrieved 2024-11-29.
  7. ^ a b c d e Athique, Adrian (2016). Transnational audiences: media reception on a global scale. Global media and communication. Cambridge, UK ; Malden, MA: Polity. ISBN 978-0-7456-7021-8.
  8. ^ a b Nightingale, Virginia, ed. (2011). The handbook of media audiences. Global media and communication handbook series (iamcr). Malden: Wiley-Blackwell. ISBN 978-1-4051-8418-2.
  9. ^ "文化コンテンツ".
  10. ^ Kaufman, Gil (2021-04-12). "BTS' 'Dynamite' Video Tops One Billion YouTube Views". Billboard. Retrieved 2024-12-02.
  11. ^ "korea_contents_promotion" (PDF).
  12. ^ "BTS' 'Dynamite' Tops 1 Billion Views on YouTube".
  13. ^ Ahmed, Wasim; Fenton, Alex; Hardey, Mariann; Das, Ronnie (2022-07-01). "Binge Watching and the Role of Social Media Virality towards promoting Netflix's Squid Game". IIM Kozhikode Society & Management Review. 11 (2): 222–234. doi:10.1177/22779752221083351. ISSN 2277-9752.
  14. ^ "An Analysis of the Korean Wave as Transnational Popular Culture: North American Youth Engage Through Social Media as TV Becomes Obsolete". International Journal of Communication.
  15. ^ Zhao, Zixuan. Exploring the relationships between K-pop fans' identities and media consumption in web 2.0 era (Thesis). University of Missouri Libraries.
  16. ^ "「イズム」なき消費とメディアの関係──K-POPファンダムとZINEカルチャーの比較から（2022） | mayshirao" (in Japanese). 2022-03-02. Retrieved 2024-12-03.
  17. ^ Nugraha, Rahmadya Putra; Komsiah, Siti (2023-08-27). "Utilization Of New Media As Digital Fandom Among Korean Pop (K-POP) Fan Groups On The Social Media Platform Twitter". International Journal of Progressive Sciences and Technologies. 40 (1): 200. doi:10.52155/ijpsat.v40.1.5584. ISSN 2509-0119.
  18. ^ Aidah, Siti; Supartono, Supartono (2024-06-01). "The Influence of Korean Wave K-Pop, Lifestyle, and Fanaticism on the Consumptive Behavior of K-Pop Fans on Students at the Bekasi Branch of Universitas Pelita Bangsa". Indonesian Interdisciplinary Journal of Sharia Economics. 7 (2). doi:10.31538/iijse.v7i2.5010. ISSN 2621-606X.
  19. ^ Korompis, Merry Jeanned’arc; Lapian, S. L. H. V. Joyce; Mandey, Silvya L.; Tumbel, 4Altje L.; Tumbuan, Willem J. F. Alfa (2023-07-13). "The Hallyu Phenomenon and its Impact on Consumer Behavior: a Bibliometrics Analysis". International Journal of Business Diplomacy and Economy. 2 (7): 103–111. doi:10.51699/ijbde.v2i7.2208. ISSN 2833-7468.{{cite journal}}: CS1 maint: numeric names: authors list (link)
  20. ^ "BLACKPINK's Lisa as the Face of Moonshot: Expanding into the Chinese Market".
  21. ^ "The Korean Wave in East Asia".
  22. ^ "The Accelerating Korean Wave Boom: Why Are Young People Enthralled by It?".
  23. ^ "Tragic News of Popular Idols, Hiatuses, and the Harsh Realities of K-POP: Labor Conditions and Mental Health Issues [K-POP Yuriko's Korea]".
  24. ^ "The Death of a Young Idol: The Harsh Realities of a Grueling Work Environment".
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:UoE_24fall_wikiwiki/sandbox&oldid=1261219462"