• Management & Information Systems Review
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• v.30 no.4
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• pp.385-414
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• 2011

Fans' role and influence is becoming more extensive in these days' complex and competitive sports market. This research considers fans as internal members of sports team, employee and confirms active and voluntary fan citizenship behavior's effects on team, community, and social exchange among community residents, so that an enterprise can increase accessibility from many-sided perspectives when establishing sports marketing strategy in the future. The concept of fan citizenship behavior is set up considering characteristic of sports industry based on employee's organizational citizenship behavior discussed from the internal marketing and organization theory and preliminary studies about client citizenship behavior mentioned from service industry area. Although the sixteen research hypothesis are not fully supported. The results are summarized as follows. These findings give theoretical and marketing implication to future researcher and marketer. First, fan's positive aspect is confirmed which is different from general consumer by examining fan citizenship behavior's effect on teal value in the sports industry. Second, it was confirmed that the team needs marketing strategies about not only relationship between each individual fan, but also interaction between fans in the future. Third, it was confirmed that direct fan's behavior as well as individual fan's cognitive area have effects on team's and social value.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.855-869
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• 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 Popular Narrative
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• v.27 no.1
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• pp.99-130
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• 2021

This paper examines printed materials such as weekly newsletters and leaflets issued by Dansungsa, a movie theater in Colonial Korea for a promotional purpose as independent modern media. During the 1920s and 1930s, in tandem with the development of the incipient printing houses in Namchon, Gyeongseong, including Suyeongsa, Dansungsa published promotional prints including weekly newsletters and leaflets in a serial manner to compete with Joseon-gukjang and Umigwan. As these materials contain various information including movie programmes, spectatorship, distributional channels, and promotional strategies that bears witness to theater culture of this time, this paper focuses on the dynamics where not only text and image but also audiences and filmic texts are mediated one another. To this end, the paper has three objectives. First, I argue that weekly newsletters and leaflets can be considered as 'flickering media' that meddles in text and image culture. Second, Dansungsa's promotional prints interpellated film audiences as a loyal fan group while mediating audiences and filmic texts. In doing so, I suggest that these print materials established its own cultural domain differentiated from filmic culture itself. Third, these ephemeral materials contributed to narrowing the gap between colonial Joseon and the World in its imaginary geography through the function of mediation.

• The Southeast Asian review
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• v.26 no.3
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• pp.1-50
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• 2016

This paper aims to investigate the cultural conflicts and characteristics of anti-Korean Wave discourse taken placed among Southeast Asian countries. To do this, it takes Vietnam and Indonesia as the study cases, which have been showing a trend of anti-Korean Wave discourse as well as high popularity of Hallyu. As research methods, the paper analyzes both on-line discourses of anti-Korean Wave and the email audience interviews from both countries. The results show some significant differences between the two countries as well as the similarity that Anti-Korean Wave discourses have been actively produced and disseminated through on-line media. As for Indonesia, the Anti-Korean Wave discourse pivots on the elements clashing between Indonesia's religion and cultural values and Korean consuming culture. According to the Anti-Korean Wave discourse, K-pop contents and entertainers are criticized for damaging the society's morals and cultural identities based on Islamic rules and values. Thus, the sentiment of the Anti-Korean Wave is likely to lead to the cultural nationalism for the sake of their cultural identity. As for Vietnam, anti-Korean Wave discourse mainly consists of issues on enthusiastic K-pop fans' anti-social behaviors and generational conflicts which are presumed attributed as the chief factor of the Anti-Korean Wave. In the Vietnamese discourse, social elites and adults treat the enthusiastic K-pop fans as those who are in need of educational care or psychological therapy. Unlike the Indonesian case, anti-Korean Wave discourse in Vietnam criticized the K-pop and the performer's competence for being cheap sexy and incompetence. They also denounce Korean dramas for their trite, typical story lines, use of excessive emotion, and unrealistic nature. However, the two country's interview participants have in common both acknowledged that rather than considering the Anti-Korean Wave as an issue that needs to be resolved it should be embraced as a natural cultural phenomenon.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.351-361
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• 2019

The objective of this article is to identify an alternative strategy for brand marketing through a case study of the Korean boy band BTS, which has recently seen a huge success in the global music scene. BTS has actively used transmedia storytelling as a tool to survive in the competitive music market. Transmedia storytelling refers to stories that are expanded across different media platforms, engaging audiences to explore from one medium to another to undergo multiple experiences. It gives audiences various ways of enjoying cultural content and participating in cultural content production through numerous media outlets. BTS has established and spread its fictional universe through albums, music videos, short films and webtoons, and has launched diverse projects where fans actively share, create, and play with their content. By inviting fans to actively participate in and interact with the BTS universe spreading through multiple media platforms, BTS can keep its fans engaged and energized. These activities have generated an emotional bond between BTS and their fans, which further leads to a worldwide fandom, based not on a producer-customer relationship but on mutual trust. The BTS case demonstrates the potential of transmedia storytelling as a useful benchmark to provide a positive brand experience for customers, which eventually enhances brand attachment and brand loyalty.

• Trans-
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• v.15
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• pp.57-79
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• 2023

This study aims to explore the strategies and effects of SNS images used by four popular male beauty influencers to gain identification with their female fans. The research selected four male beauty influencers, namely Li Jiaqi, Jeffree Star, James Charles, and Bretman Rock, with a high number of subscribers on Instagram, YouTube, and TikTok as of July 21, 2023. By observing the content they posted on SNS, the study analyzed the types, characteristics, and relevance of male beauty influencer images with their female fans using Lacan's gaze theory. Additionally, concepts related to gaze, such as the mirror stage, the screen, and objet petit a, were supplemented to conduct an in-depth analysis of the characteristics of male beauty influencer images and the motivations of female viewers. The study results suggest that male beauty influencers can maintain an intimate relationship, referred to as 'girl-friendship,' with their female fans through the identification formed by the homogeneity within the feminized mirror images. Furthermore, male beauty influencers can transform female viewers from being seen as objects to seeing them as subjects by presenting images that embrace diversity in gender identity, challenging the traditional notions of societal gender norms. Therefore, the images of male beauty influencers not only challenge gender stereotypes but also cater to the demands for independence and equality of modern young women, promote understanding of feminine gaze, and explore the potential for democratization and inclusivity on social media platforms from a new perspective.