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

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

• Journal of Digital Convergence
• /
• v.17 no.11
• /
• pp.523-530
• /
• 2019

This study examines how global fandom for Korean dramas is formed and maintained by examining the reason and purpose of voluntarily making the subtitles of Korean drama through in-depth email interviews with foreign subtitle producers(fan subber) working on a video site called Viki.com. The research focused on Viki's fan community, which has grown into the most influential Korean Wave platform. Collective intelligence expresses in the fan community produces more than professional results and they are acting as consumers, cultural producers, and second creators of K-content. In order to continue the spread of K-content, it needs to pay more attention to the long-term strategy of global fandom combined with the fan community activities of the new media platform and network effects.

• The Journal of the Korea Contents Association
• /
• v.21 no.12
• /
• pp.855-869
• /
• 2021

Since 2009, stars produced through audition programs have appeared through the process of establishing familiar ties with viewers, unlike stars created by entertainment agencies. This study is a case study that examines the characteristics, roles, and identity of internet live broadcasts (Labang) of vocalists Kang Dong-hoon and his fan cafe(fan community) who appeared in JTBC Phantom Singer 3 in 2020. As a result of the study, fans gathered around SNS even before the fan cafe was created, at their request, 'Labang' began. "Labang" is a "freely participating talk show" in which fans actively participate. This brought about the bond of fans, a sense of belonging, and the activation of fandom. Both stars and fans recognized "Live Broadcast" as "a window of communication to get to know each other," and expressed satisfaction that they could see the sincerity of familiar and unpretentious stars, not unrealistic images reproduced on TV through "immediate comment communication." "Labang" consists of a variety of contents, including stars' daily lives, music activities, broadcast appearances, and hobbies, and is showing "aesthetic differentiation" from those who do not watch "Labang" while sharing the daily lives of stars and fans with active participation.

• Journal of Digital Convergence
• /
• v.14 no.10
• /
• pp.431-438
• /
• 2016

This study focused on the Korean-wave content consumed in the global market and analyzed success/failure factors of services through business model analysis. It aims to offer an effective new media content platform model. ViKi, Drama Fever, Maaduu.com which are representative global OTT were researched on management strategy by case analysis. The success of the global OTT platform is organized into three factors, target customer coverage, revenue model and community activation. Clear and wide coverage of target customer is important to determine the value of the service. Also, revenue model based on the pay service and community for Korean-wave fandom are essential to make good performance in new media platform business.