• 한국콘텐츠학회논문지
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• 제14권6호
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• pp.328-338
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• 2014

최근 들어 우리나라의 음반시장과 광고시장에서 아이돌이 차지하는 비중은 지속적으로 증가하고 있다. 본 연구에서는 아이돌 팬들이 아이돌을 우상화하는 요인들을 살펴보았고, 이러한 요인들이 10대 팬과 20대팬 간 차이가 있는지를 분석하였다. 그리고 아이돌 우상화의 요인들이 아이돌 우상화를 매개로 하여 아이돌이 광고하는 상품의 구매의도에 영향을 미치는지를 분석하였다. 연구결과, 아이돌 팬들은 아이돌 가수들의 목소리가 좋고 공연무대에 매력을 느낄수록 아이돌을 우상화하는 경향이 있었고, 아이돌에 대한 주위의 평가와 아이돌의 노래, 춤, 화술 등 아이돌의 표현방법이 좋을수록 우상화하는 경향이 높았다. 한편 20대 팬들은 10대 팬들에 비해 아이돌의 표현방법이 좋을수록 아이돌을 우상화하는 경향이 더욱 높았다. 또한 팬들은 아이돌을 허구의 연애상대로 상상할 수 있을 때 더 우상화 하는 것으로 나타났고, 아이돌 우상화의 요인들은 아이돌 광고상품 구매의도에 직, 간접적으로 영향을 미치는 것으로 밝혀졌다.

• 한국콘텐츠학회논문지
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• 제22권2호
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• pp.605-616
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• 2022

본 연구는 아이돌 팬덤 현상에 대해, 팬덤의 시대별 특징 및 이용 매체의 속성에 따른 영향과 차이를 살펴보고자, 3세대 아이돌 팬덤과 1,2세대 아이돌 팬덤의 문화 차이, 그리고 인터넷의 발전에 따른 팬덤의 소셜 미디어 이용 양태의 차별적 영향을 실증적으로 탐구하였다. 한국과 중국의 아이돌 팬덤을 중심으로 설문조사 분석 결과, 3세대 아이돌 팬덤은 1,2세대 팬덤보다 아이돌에 대한 친밀감, 연애감정/숭배심리 및 동질감이 더 높았으며, 팬덤 충성도 및 팬덤 정체성도 높게 나타났다. 마찬가지로, 주로 이용하는 소셜 미디어 플랫폼에 대해서는, 네트워크 중심소통 팬덤이 온라인커뮤니티 중심소통 팬덤에 비해 친밀감, 연애감정/숭배심리 및 동질감이 더 높았고, 팬덤 충성도 및 팬덤 정체성 역시 더 높은 경향을 보였다. 이를 바탕으로, 팬덤의 세대 변화 및 소셜 미디어 이용 양태에 따른 아이돌 팬덤 문화의 변화의 함의에 대해 논했다.

• 미술이론과 현장
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• 제6호
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.