You Tried to Upload an Illegal File Type Fandom

In Republic of korea, fandom culture has largely formed effectually K-popular idols and Korean dramas. These fandoms support a large market for official and unofficial fandom memorabilia. Fandoms in South korea are politically viewed as a mainstream civilisation and not equally a subculture.

1000-popular fandoms [edit]

Fandom civilisation refers to the phenomenon in which people voluntarily choose a certain celebrity or genre and come together to create a specific 'acceptance' civilization.

Fandom civilisation of Korean popular idols began in the 1970s with singers Nam Jin and Nahuna. In 1980, Cho Yong-pil appeared in the public loonshit, ushering in the fan girl culture.^[1] Fandoms started to go pop during the early on 1980s and continued to grow rapidly into the 1990s with the emergence of Seo Taiji every bit a teenage idol. Fan girls gained more than prominence in the printing after the retirement of Seo Taiji and Boys in the belatedly 1990s, and were described every bit teenaged girls who dedicated their everyday lives to following, watching, or admiring an idol star.^[2]

Around the twelvemonth 2000, many fan clubs appeared and Korean youth culture became a bailiwick of academic study.^[three] Many traditional South Koreans disapproved of enthusiastic fandoms, and early on studies of the subject took a negative view. A possible reason for its popularity is that idol fandom was a lark for the rebellious youth culture.^{[ citation needed ]}

In the earlier times, K-pop idols were pushed to act and look innocent. By banning tattoos, earrings for male idols and no risque mode of dancing. This epitome of idols was modern plenty for the Korean youth to enjoy and bourgeois plenty to exist supported past the adults.^[4]

History [edit]

Although early fandom was strongly perceived equally a fan civilization involving a few fanatic people, it has recently brought about a shift in perception that tin be accessed in a diverseness of ways just past the name of a star or related search terms on portal sites, which is largely due to the development of the Cyberspace and media.^[v]

Amidst the numerous fandoms in cyberspace, peculiarly the nation'southward "idol" fandom has steadily expanded its influence in various ways to appointment, starting with "Seotaiji And Boys." In the past, idol fandom civilization was called "girl civilization" or "teenage civilization" and was considered primarily an immature culture for teenage girls, while the third-generation idol fandom has recently expanded to men and over 40s, exerting influence on cultural consumption aspects for all generations.^[6]

Fan relationship [edit]

Parasocial relationship is a one-sided relationship as a outcome of abiding exposure to a media persona that a celebrity demonstrates. This then causes fans to develop an illusion of intimate relationship or friendship.^[vii] Kpop idols are typically trained to take and form shut connections with their fans which leads for this close-knit connection to become a parasocial relationship. Kpop idols practise this through parasocial interaction.^[8] Parasocial interaction betwixt fans and Korean idol(due south) is a kickoff at explaining kpop fan civilization.^[9] The idol(southward) to get a "parasocial-kin", an object of consumption and parasocial interaction; such equally a family member or a friend. This "parasocial kinship" is defined on how an individual would care for an extended member of the family unit. Allowing for further agreement of the positive and negative aspects of the idol/fan parasocial human relationship.^[ix]

The "Korean Wave", also known as Hallyu has become a sensational hit around the world and continues to grow every twelvemonth since it began to politically have over the world in the early 2010s. While K-pop had of course existed earlier that, between 2011 and 2012, the government upkeep grew over 250% for the business.^[10]

Celebrities, particularly in Republic of korea, are icons that are driven past their presence in majorly media driven societies.^[eleven] Every bit time, club, and civilisation progresses, the idols must change and form along with it. The best way that this is represented is through social media.

In 2015, South Korean Idols set themselves apart from many of their Western counterparts by not but joining the major social media platforms such as Instagram and Twitter, but Naver Corporation created a streaming website/app called "5 LIVE". While Instagram and Twitter are international apps that allowed for the idols to attain their fans, V Live allowed for streaming of live (or uploaded) videos or vocalism but recordings. The idols tin can read the comments from the fans in real fourth dimension and reply. The current version of V Live has over 700 channels focusing on a multifariousness of Yard-pop stars and actors.

Many M-pop idols as well participate in a "Hi bear upon" event, even those that are widely known and popular, such equally MONSTA 10. A "Hi Bear upon" is the opportunity for fans to personally encounter the idols and essentially give them a high 5, with the chance to say a quick give-and-take or ii. The run a risk could be either before a concert or afterwards, sending off the idols to their next destination.

With the current state of the pandemic affecting every office of the world, in-person concerts are impossible to attend or even create. Therefore, many K-popular groups are performing online concerts. One of the near famous G-pop conventions, known as 'K-Con', hosted an online convention with over 30 artists. K-pop idols were able to interact with their fans, as fans entered contests and had the chance to have a photographic camera stream their moving-picture show behind the performers, assuasive for interactions.

These are just some of the reasons that Grand-pop idols and their fans have a unique dynamic. K-pop fans have many opportunities to get exclusive content and interactions with the idols, creating a positive relationship for both parties.

Fansumer [edit]

"Fansumer" is a compound word of "fan" and "consumer." This ways consumers who participate in production, in other words productive consumers. And then, the fan base, which was classified equally a fandom, turned into a very active fan who focused on the interaction of planning, investing, and checking while participating in the overall production and production process for products or entertainers, not merely one-sided love and purchase for one-sidedly.^[12]

[Table ane] Fandom vs. Fansumer^[13]

	Fandom	Fansumer
Target	Celebrity, Make	Enterprise products, brands, and influencer.
Human relationship	Yearning	Complementary and bank check
Function	Supporter	Partner
Core value	Back up	Involvement
Ripple effect	Make Power Up	Changes in manufacturing system processes

As shown in the table above, Fansumer's sphere of activeness is very wide. As mentioned above, they invest in startup idea products, appoint in corporate product evolution, engage in marketing activities equally supporters, and support or criticize celebrities or influencer, non to mention fostering celebrities before their debut. The driving force behind these Fansumer's activities is the pride that 'it was made by me.' It'southward called Byme Syndrome, noting the efficacy of being created by me.^[14]

Fansumer activities [edit]

1) Subway advertizement [edit]

The fandom civilisation of posting celebrities they like or support on subway billboards forth with auspicious phrases is expanding. The actual number of subway advertisements is used every bit a measure of idol popularity. Behind the popularity of subway advertisements is the expansion of survival audition programs. Equally "Superstar K six" and "Prove Me the Money 3" began to proceeds popularity in 2014, subway advertisements supporting participants began to be posted, and Mnet's idol-edifice programme "Produce 10 101" appeared for the kickoff time in 2016. Ads for idol and famous celebrities are expanding into a civilisation to communicate with celebrities rather than just a civilisation for fans to enjoy. In fact, many celebrities take pictures of advertisements, and fans enjoy the "pilgrimage" by bowing in front of their favorite celebrity billboards, posting mail-its and taking photos.^[fifteen]

2) Streaming of music [edit]

Idol fans routinely play their favorite singer's songs on various music sites. They should stream music videos and Naver TV Casts that were uploaded on YouTube. This is for the sake of loftier music records and music video views. It is hard to explain in a give-and-take why fans should streaming. The reasons vary. In order to show off the robustness of i's favorite idol, at that place are various reasons why it is difficult to define i past i, such as to show the strength of the fandom, to top music programs that reverberate the number of views on music charts, to win yr-end awards, to wish others to heed to the song a lot, and to let their favorite idols exist disappointed if their music rankings fall.^[sixteen]

3) Oversupply funding [edit]

It means receiving funding from the crowd, which means that individuals, organizations and companies that need funds use the web or mobile network to heighten funds from unspecified sources. It is also chosen social funding considering it often participates through social network services (SNS).^[17]

Superstar penguin Pengsu has started to aid farmers afflicted by the cold weather. Pengsoo rolled upwards his wings to promote consumption of peaches and plums on his YouTube channel, "Behemothic Peng TV." Pengsu's funding through Naver'south Happy Bean Crowding Happy Bean is aimed at helping peach and plum farmers afflicted by the cold sea. This bound, the fruit tree was damaged by cold weather condition due to depression temperatures during the flower flavour, and as the production decreased amid trees with no fruit on them, the visitor started to promote sales. Pengsu was on a live prove, urging consumers to buy. When Pengsu went public, all the supplies ran out shortly after the broadcast began. Pengsu immediately secured the second batch for his fans, but fifty-fifty that was sold out in less than 20 minutes.^[18]

The impact of Fansumer activity on many industries [edit]

1) Reformation of the music market^[nineteen] [edit]

The phenomenon of fandom making No. 1 idol has become a grade of ritual event. Once ranked kickoff, it is exposed to the superlative of the music site and published in articles, which leads to other broadcasts and activities, which greatly affects popularity. To brand it number ane, fandom voluntarily set upward a music streaming work team exclusively for music streaming labor to hold events that give prizes when they receive donations and certify streaming, or create hundreds of music site IDs to pay for music site usage rights and stream music.

Therefore, it has go difficult for singers and rookies of different genres to be on the charts compared to idols who rank outset with the ability of their fans. However, information technology was important for other singers to get popular on the charts, and there was a hoarding of music that imitated fans' streaming civilisation. Music hoarding refers to the act of manipulating the chart's ranking or unfairly purchasing certain music sources for the purpose of copyright revenue. Later on subscribing to several music platforms through thousands of smartphones and tablets, music hoarding takes identify by repeatedly streaming certain music sources. As it was revealed that many singers hoarded their music, at that place was a controversy over whether fans' streaming labor culture should also exist regarded equally hoarding.

In response, Melon, the site with the highest market share among music sites, announced a plan to revamp the existent-time charts. The company said it will change the standard to 24 hours on the real-time chart, which newly aggregates usage every hour. Fans, who conducted streaming labor for a time when there were not many people listening to music at dawn or during the day, complained, but in order to reduce the hoarding civilization that resulted from it, the reorganization of the music charts is inevitable.

2) New concern that reflects the Fansumer trend ^[20] [edit]

The fandom will support the idol group they support. In support activities, they present gifts such as lunch boxes to idols, place advertisements on public transportation such as subways and buses, and interact with cafes to include phrases and images to support the idols of cup holders, or create special menu lights in cafes to hold events. As "cupholder events" began to sally, cafes specializing in renting cupholder events for fandom activities began to emerge, reflecting this tendency. Companies that used to produce and sell slogans or fans only for corporate advertising are also producing design products made from photos of idols cheered by fans, while others specialize in coffee and snack cars sent by fans to the idol'south filming site.

Global fandoms [edit]

Many fandoms of K-pop are located outside of South Korea as role of a miracle called Hallyu two.0, which is characterized by the extension of the Korean Wave into global markets, especially the Westward, and largely attributed to the development and use of Social media technologies past fans and consumers of K-pop.^[21] Due to location barriers, fans belonging to global fandoms turn to social media as a platform to swallow K-Pop as well as network with other fans to organize and distribute fan activities and products such every bit dance embrace videos, fan fiction, and grouping orders to purchase K-pop products.^[21]

Social media technologies such as Kpop fan sites let international fans to course a deep emotional attachment to K-pop idols. Kpop fan sites allow fans to view idols every bit beautiful, talented, and approachable which leads them to be role models for international fans. This extends to the epitome that South Korea portrays as well. Global fans from Romania, Peru, and Brazil accept been found to seek out Korean restaurants, Korean linguistic communication lessons, and other fans to dance to Korean music. Creating an online and concrete identity.^[22]

Online communities based around Kpop have also emerged in various spaces such equally Instagram, Twitter, and Tumblr. Though the majority of the members in these online communities are non-native Korean speakers, Korean language is seen to be used among the fans. Fans take been constitute to play a significant function in creating fan content which may have resulted in positive and negative bear upon of fan and idol date.^[23] The geographical distance for international fans may brand it difficult for fans to grade a connectedness to the idols. Though the internet has been a major role of assuasive international fans to easily class a connection with their idols right at their fingertips.^{[ citation needed ]} Global fans are constitute to possibly appeal to the Lacanian imaginary that Kpop-idols provide to them.^[24]

Japanese fans have been represented every bit an "active audition." Active audience can be defined as the fans attend the concerts often, collect information, and try to find means to interact with idols through letters and handshake practice.^[25] Japanese females who take been exposed to the Korean Wave have been institute to develop a positive idea towards Korea and the citizens past associating them to their Korean idols.^[25]

In the Philippines, fans attend the Philippine Kpop Convention, Inc. (PKCI) where they partake in activities that politically promote K-popular and Korean civilization. PKCI active participation provides a cardinal part for local fans in the Philippines to grade a connectedness and motivation to participate in Korean culture that includes K-popular.^[26]

In Europe, Grand-popular idols take motivated young fans to first learning Korean language and civilisation. As a issue, major media such as YouTube and academic institutions started to spread Korean civilisation.^[27] Thousands of teenage boys and girls are found ownership CD's and tickets for Korean idols/musicians to join their idols in singing and dancing to their lyrics in Koreans.^{[ citation needed ]}

G-popular fans & Soft Power [edit]

The phenomenon of the Korean Wave and the strong connectedness between K-pop idols and their fans resulted in South Korea to develop soft power. Soft power is the power to shape the preferences of others through appeal.^[28] G-pop idols allow fans, globally, to view South Korea positively which results in Republic of korea to improve the country's ability to proceeds trust and preference in trade internationally transforming them into political and economical strength.^[29] After the Korean wave became more apparent, the authorities gave credit to the function of avid fans that contributed to the growth of Korean popular culture.^[30]

Fan behavior [edit]

Positive [edit]

Members of idol fandoms may better themselves in the pursuit of their obsession, such as by studying to enter the aforementioned academy as their idol, learning foreign languages to follow their idol's career abroad or learning image-processing techniques to edit photos of the idol. Fandom may also atomic number 82 to other interests, for example, idol group JYJ's fans like musicals considering of musical appearances by Kim Junsu.^[i]

Fans role in creating their own fan content allows for idol groups to proceeds mainstream exposure in the west, and take tours abroad.^[23]

Negative [edit]

Stalker fans,^[31] a.k.a. sasaeng fans, are considered to have get overly obsessed with a public figure and engaged in behavior that constitutes an invasion of privacy.^[32] Stalker fans may disguise themselves as a phase hand or manager to approach the star, or pretend to be reporters in social club to gain entry to a press briefing. Many fans apply the Internet and social media to find and track the location of their idols. According to a Korean idol group JYJ, some of the fans came to the grouping's hostel, stole the members' underwear, took pictures of them sleeping, and later sent the pictures to the members by text message.^{[ citation needed ]} Many normal fans have an unpleasant feeling about such fans' actions.^{[ citation needed ]}

Paparazzi too exist in Republic of korea.^[33] The tabloid magazine Dispatch reports on the private lives of people in the Korean entertainment industry, and has violated privacy past exposing secrets and illicitly taken photos. On Jan one, 2013, Kim Tae-hee and the story of Pelting were published. On July 3, 2013, the relationship of Won Bin and Lee Na Immature was exposed to the public and fans.^{[ relevance questioned ]} At that place was also a report on Noh Hong-chul'due south drunk driving in the Space Challenge.^{[ citation needed ]} Dispatch has invaded the privacy of countless celebrities, spreading half truths and partial facts to pander to those who paid them money to study such falsehoods.

Blitheness fandom [edit]

Seoul Comic Earth is a big blitheness fandom festival and is considered to be one of the biggest anime conventions in the earth^{[ citation needed ]}. Some fans cosplay (wear costumes) equally a public display of their favorite characters.^{[ citation needed ]} Amateur artists tin can showcase their work, and attendees can meet vocalization actors and artists.^[34] A large corporeality of Korean animation fandom is based on Japanese blitheness, because of its many genres to satisfy the differing tastes of fans.^[34]

Memorabilia [edit]

McDonald'southward Happy Repast as a "kidult" item

Fans collect memorabilia including idols' photographs and items marked with logos, collectively known as fan merchandise, to express their identities as fans. Fan merchandise was first produced by entertainment companies of get-go-generation idol groups such as H.O.T. and Sechs Kies whose fans started to buy balloons and raincoats in the group's colour.

Sharing and selling merchandise [edit]

Most fan merchandise in South korea is promoted through social media outlets similar KakaoTalk and Twitter. The ability of consumers to find exactly what they desire has resulted in an expansion of the market to nigh 100 billion South Korean won (Usa$89 1000000 equally of Nov 2017^[update]).Teenagers are the trend-setters and are frequently active every bit sellers and producers equally well as consumers.^[35] Fan merchandise sells at a higher toll than the nominal value of the article because of its sentimental value and appeal equally a collectible.

In addition to the official trade produced and sold through entertainment companies, fans themselves produce a great bargain of merchandise.^[36] In some instances, fans have responded to poor-quality official merchandise by producing their own higher-quality products, which are often cheaper.^{[ commendation needed ]} Official goods have an advantage as a commodity, while fan-produced trade may correspond to more specialized tastes, such as a fan-made photobook focusing on a detail fellow member of a band. Producers and sellers of fan-made trade are known every bit "home masters".^[36]

Although it is illegal to sell products using celebrities' pictures without permission in South korea, most entertainment media outlets do not defend the right of permission to utilise a likeness. Some believe that unofficial merchandise fandom cannot be regulated.^[37]

See also [edit]

• Sasaeng fan
• Korean Wave
• KPOP Photocards

References [edit]

1. ^ ^{a b} Jeon, Seulgi (2015). The impact of media reporting on the celebrity to Fandom 연예인들 팬덤에 대한 미디어의 영향력. Inha University. p. 22.
2. ^ Jeon, Seulgi (2015). The touch of media reporting on the celebrity to Fandom 연예인들 팬덤에 대한 미디어의 영향력. Inha University. pp. 10–eleven.
3. ^ Kang, Min Yeong (Apr 11, 2013). "Everything about Korean fandom culture 한국 팬덤 문화에 대한 모든 것". Sportsworld . Retrieved Nov 9, 2017.
4. ^ Troung, Brian (2014). "The Korean Moving ridge: Cultural Export and Implications". HIST484: Globalization Capstone.
5. ^ "김현지, 박동숙. (2004). 온라인 팬덤. 미디어, 젠더 & 문화, (2), 41-69".
6. ^ "김현지, 박동숙. (2004). 온라인 팬덤. 미디어, 젠더 & 문화, (2), 41-69".
7. ^ Chung, Siyoung; Cho, Hichang (2017). "Fostering Parasocial Relationships with Celebrities on Social Media: Implications for Celebrity Endorsement". Psychology & Marketing. 34 (4): 481–495. doi:10.1002/mar.21001. ISSN 1520-6793.
8. ^ Rubin, Rebecca B.; McHugh, Michael P. (June 1, 1987). "Evolution of parasocial interaction relationships". Journal of Broadcasting & Electronic Media. 31 (3): 279–292. doi:10.1080/08838158709386664. ISSN 0883-8151.
9. ^ ^{a b} Elfving-Hwang, Joanna. K-pop Idols, Bogus Beauty and Melancholia Fan Relationships in Republic of korea.
10. ^ Lee, Soojin; Scott, David; Kim, Hyounggon (July 2008). "Celebrity fan involvement and destination perceptions". Annals of Tourism Inquiry. 35 (3): 809–832. doi:10.1016/j.annals.2008.06.003.
11. ^ Oh, Ingyu; Lee, Hyo-Jung (2014). "Yard-pop in Korea: How the Popular Music Industry Is Changing a Postal service-Developmental Society". Cross-Currents: East Asian History and Civilisation Review. 3 (iii): 72–93. doi:10.1353/ach.2014.0007. ISSN 2158-9674.
12. ^ "김기원(Kim Kiwon), 변정민(Byun Jungmin). (2020). 한국 대중문화산업에 나타난 '팬슈머' 현상 연구. 문화와 융합, 42(2): 57-83".
13. ^ "김기원(Kim Kiwon), 변정민(Byun Jungmin). (2020). 한국 대중문화산업에 나타난 '팬슈머' 현상 연구. 문화와 융합, 42(2): 57-83".
14. ^ "김기원(Kim Kiwon), 변정민(Byun Jungmin). (2020). 한국 대중문화산업에 나타난 '팬슈머' 현상 연구. 문화와 융합, 42(two): 57-83".
15. ^ "류인하, "아이돌 팬덤문화 인기↑ 지하철 광고 문화 바꿨다"".
16. ^ "한겨례, 한심해 보여? 아이돌 팬들 오늘도 '스밍 총공' 나선다".
17. ^ "[네이버 지식백과] 크라우드 펀딩 [crowd funding] (두산백과)".
18. ^ "펭수, 농가 돕기 펀딩으로 증명한 인기…"완판은 다 내덕"".
19. ^ 이민아. (2020). 음악산업에 대한 정부개입의 한계와 필요성: 음원사재기 현상을 중심으로. 문화정책논총, 34(ane), 5-33.
20. ^ 김기원(Kim Kiwon), 변정민(Byun Jungmin). "한국 대중문화산업에 나타난 '팬슈머' 현상 연구." 문화와 융합, (2020): 57-83
21. ^ ^{a b} Jin, Dal Yong; Yoon, Kyong (2016). "The social mediascape of transnational Korean pop culture: Hallyu 2.0 as spreadable media practice". New Media & Society. eighteen (7): 1277–1292. doi:10.1177/1461444814554895. ISSN 1461-4448. S2CID 5289185.
22. ^ AuthorCynthiaGreen (January 14, 2018). "What Exactly is Chiliad-Pop, Anyway?". JSTOR Daily . Retrieved Apr 6, 2020.
23. ^ ^{a b} "Yard-Popular, Language, and Online Fandom: An Exploration of Korean Language Use and Performativity amongst International K-Popular Fans - ProQuest". search.proquest.com . Retrieved April half-dozen, 2020.
24. ^ Lee, Sooyeon (September one, 2012). "The Structure of the Appeal of Korean Wave Texts". Korea Observer. 43: 447–469.
25. ^ ^{a b} Kozhakhmetova, Dinara (2012). "Soft Ability of Korean Popular Culture in Nippon: Thou-Pop Avid Fandom in Tokyo".
26. ^ "The Influences of Chiliad-pop Fandom on... - 스콜라(학지사,교보문고)". scholar.dkyobobook.co.kr . Retrieved April vi, 2020.
27. ^ Cheon, Sang (January ane, 2015). "The Global Impact of Southward Korean Popular Culture: Hallyu Unbound ed. by Valentina Marinescu". Korean Studies. 39: 113–114. doi:ten.1353/ks.2015.0005. S2CID 162503679.
28. ^ Nye, Joseph S. (2004). Soft power : the means to success in world politics (1st ed.). New York: Public Affairs. ISBN1-58648-225-four. OCLC 53951715.
29. ^ Trunfio, Marissa. "Hallyu and Soft Power: The Impact of the Korean Wave".
30. ^ East Asian Pop Culture: Analysing the Korean Moving ridge. Hong Kong University Printing. 2008. ISBN978-962-209-892-three. JSTOR j.ctt1xwb6n.
31. ^ "Stalking Fans of Korea 한국의 사생팬". Called News. April 17, 2007. Retrieved November 10, 2017.
32. ^ "[Entertainment] Fan Cults: Social Problem or Stress Reliever?". Korea JoongAng Daily (in Korean). Apr 9, 2001.
33. ^ "The term of Paparazzi and the rise of information technology in Korea 파파라치의 의미와 한국에서 증가하는 파파라치의 상황". PMG. November eleven, 2015. Retrieved November 10, 2017.
34. ^ ^{a b} Seung Hwan, Lee (2015). A Study on Manhwa Animation Fandom Culture – Focusing on Seoul Comic World 한국의 애니메이션 팬 문화에 대한 고찰 – 서울 코믹콘을 중심으로. The Korean journalism of animation. p. 12.
35. ^ Yoon, Sujin (2016). Study on goods manufacturing activities of youth in fandom 한국의 20대의 굿즈 생산 활동에 대한 고찰. Chung-Ang University. p. iii.
36. ^ ^{a b} Hye Min, Ji (2016). Written report on the Capitalization of Fandom focusing on the Commercialization of Idol Fan-made Products 아이돌 팬메이드 상품에 대한 광고성의 고찰. Korea University. pp. 28–29.
37. ^ Kyeonghee, Lee (January 27, 2014). "Fan-Made unofficial goods 팬이 만든 직접적인 굿즈". NEWS JOINS . Retrieved November x, 2017.

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Source: https://en.wikipedia.org/wiki/Fandom_culture_in_South_Korea

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