Handwritten Apologies of K–pop Idols : Authenticity of Handwriting and Fandom’s Identity as Consumer
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‘Keeping it real’ is a common expression of authenticity in the music business, especially in subcultures such as hip-hop and reggae. By examining the dialogically constructed authenticity between an independent hip-hop and reggae artist and her audience referred to as musical followers which takes place on a stage oscillating between web-based and non web-based contexts, this thesis investigates how this authenticity informs and influences the processes of music creation, art production and artist identity. I will argue that authenticity is constructed by the artist deconstructing the expected connections between on the one hand particular cultural belongings and ethnic origin, and on the other hand a certain appearance, style, use of language, values and behavior. Thus, global and transnational perspectives play their part in the authenticity construction. Emotions and affects are depicted as a driving force in the thesis as well as the construction of authenticity. This study suggests a new fandom created between the online, offline, private and public contexts where support plays an important role in identifying as a fan and a Friend. The study also provides insights into how these changed conditions of the processes of music creation, art production and artist identity due to authenticity construction can be benefitial to various parts of the music business.
This is an ethnographic study based primarily on participant observation, and interviews with the artist and her audience. Other materials include articles written about the artist during the fieldwork period, her music, social media content, and images from the artist’s album cover. Theoretical perspectives used include cultural analysis, constructivism and the cultural study of music.
Violin musical styles
Fandom
Consumption
Participant Observation
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Part 1 Settling the pop score...: grounding aesthetic and ideological values musical codes and compositional design modelling identity interpreting ironic intent further discursions into the pop text towards a critical musicology of the popular mobilizing the pop score. Part 2 I'll never be an angel - stories of deception in Madonna's music: reading musical codes in Madonna's performance hearing, seeing, feeling gender spectatorship and seduction production and (post)modernist survival final concluding thoughts. Part 3 Anti-rebel, lonesome boy - Morrissey in crisis?: with a thorn in his side constructs of male identity in Morrissey characterization and star depiction modelling empathy through vocal interpreting ironic markers in pop texts conclusion. Part 4 Annie Lennox's Money Can't Buy It - masquerading identity: opting for gender disguise questions of musical coding visualizing sound through videography being totally diva conclusion. Part 5 Call it performance, honey - the Pet Shop Boys: masculinity in the 1980s being boring and clever - style as rhetoric banality - political discourses of pleasure and power disco-tex and the sexelettes -satirical musical address towards a PSB discourse conclusion. Part 6 Subversive musical pleasures in The Artist (Again) Known as Prince: dialectics of music and imagination identity as racial commodity stylistic and technical codes in Diamonds and Pearls sexing and spinning gender in musical expression carnivalesque musical display - signs of the times conclusion.
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The aesthetic of ‘cuteness’ in South Korean popular music (known as K-pop) is a pivotal concept in Korean media and culture and is frequently used to describe performances by both male and female K-pop groups. Aegyo is a fundamental part of this aesthetic, also called ‘K-cute’, and it refers to the behaviour of ‘acting cute’ that denotes a particular coquettish style not only in K-pop but also in South Korean society in a broader sense.
This thesis explores K-pop performance from the mid-2000s to the 2010s through an examination of K-pop artists’ training process, an analysis of K-pop music videos’ lyrical and visual codes and a study of notable live performances. The aesthetic of ‘cuteness’ in K-pop is contextualised through a historical and cultural review of South Korea and the forms through which aegyo has been represented. Thus, we see how aegyo has evolved in response to gender stereotyping in both traditional and contemporary South Korean society and how it has come to represent a unique idea of Korean-ness expressed in a cultural form that also fulfils its potential for flexibility.
Furthermore, this thesis investigates how the K-pop industry influences aegyo through issues of gender and sexuality, primarily examining Richard Schechner’s performance theory and Erving Goffman’s notion of self-presentation. A significant aspect of this investigation is the sexualisation of K-pop idol boy and girl groups through the deliberate adoption of the aegyo aesthetic, a process that forms a key part of the marketing strategy behind their ‘Korean wave’ global success.
Finally, I explore mediatised performances of aegyo and the possibility that remediation, as outlined by Bolter and Grusin, provides a potent vehicle for the repetition and reinforcement of ‘cuteness’ via holographic and digitalised K-pop performances.
Presentation (obstetrics)
Popular culture
Girl
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Australian Idol performers and judges negotiate concepts of the real and the fake. Their exchanges encompass the tense interface between pure music ideals and commercial market imperatives. This paper examines three potential Idols from 2005, 2006 and 2007. Each provides a unique example of these authenticity negotiations; Lee Harding demonstrates how Idol protects its strategic apparatus by carefully exposing it, Bobby Flynn is held out of an example of Idol's use of real artists as a channel to authentic culture, and Tarisai Vushe illustrates how the Idol judges set out to defend Idol as a real and authentic cultural space. By exploring these three significant moments from Idol, this paper sets out to illustrate how potential Idols are mobilised to authenticate Idol as a strategic brandscape, which produces both corporate brands (that is, capital) and popular music culture.
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This thesis examines the religious dimension of fandom in popular music, taking
as an object of reflection Lady Gaga and her fans. I combine fan studies with theories of
immanence as well as Deleuze and Guattari's notion of the process of becoming, and
provide a theoretical reading of the relationship between Lady Gaga and her most fervent
fans, the 'little monsters.' Both fandom and religion promise a stable sense of identity
and authentic community to devotees. Performing deconstructive discourse analysis on
three of Lady Gaga's music videos, I demonstrate how fandom, like organized religion,
can simultaneously be an emancipatory practice and a practice that seeks to deny
individual subjects their agency. This thesis provides a new theoretical framework for
understanding fandom, and illustrates how the purported benefits of both fandom and
religion can only be gained when the figureheads of each group are symbolically
destroyed by the members themselves.
Fandom
Deleuze and Guattari
Immanence
Popular culture
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The current phenomenon sees that South Korea's popular culture is growing, so it has so many fans scattered around the world, including in Indonesia. Many K-Pop fans in Indonesia will show a variety of behaviors shown by K-Pop fans so that they can be assessed the stages in which fans they are to their K-Pop artists. Wannable itself is a fandom name of the South Korean group called Wanna One and Wanna One itself has been disbanded due to his expired contract period. The study aims to find out how celebrity worship behaviors and parasocial interactions on the lifestyle of K-Pop fans. The approach used in this study is qualitative with phenomenological methods and uses an interview technique in-depth with one person triangulator and four people informants. The results of this study show that the four informants who are Wannable are in the intermediate stage and level in the conduct of an intense-personal idol in celebrity worship and identification attraction in parasocial interactions. This is because they are still rationally minded and able to position themselves as a fan. It can be known that Indonesian fans are not too fanatic about idols.
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이 글에서는 웹소설 독자와 문화가 서로 영향을 주고 받으면서 내적 규칙과 이념을 이루어왔다고 보고, 로맨스 웹소설 문화현상을 중심으로 로맨스 웹소설이라는 매체 혹은 장르의 특성과 이념을 밝히는 연구를 수행하였다. 웹소설 독자의 이념과 행동양식을 밝히기 위해 잠재 디리클레 할당기법과 문화비평에 대한 사회학적 접근법 중 이용과 충족이론을 활용하였다. 먼저 피서술자의 특성을 분석하여 웹소설 독자가 사랑에 대한 환상을 지니고 있으며 연애의 최종 목표가 결혼이라는 낭만적 사랑의 이념으로서의 핵가족 이데올로기를 지녔음을 밝혔다. 로맨스 웹소설 독자는 연애지상주의적인 생각을 공유하고 연애의 목적이 결혼임을 확인하는 동시에, 이를 즐기는 문화적 집단으로 간주된다. 아울러 댓글 분석을 중심으로 독자들에 의해 형성된 팬덤이 웹소설의 변화를 가로막고 있음도 살펴보았다. 도출된 결과를 통해 역으로 추적하면 로맨스 웹소설은 장르소설적이며, 컬트적 속성이 강한 대상으로 분석된다. 웹소설은 웹툰에 이어 한국 콘텐츠의 보고로 간주되고 있다. 새로운 이야기는 장르와 플롯이 뒤섞이는 과정에서 창출된다. 웹소설이 장르소설로서의 형태를 고수하는 한, 변화는 쉽지 않을 것으로 예측된다. 독자의 변화가 웹소설의 변화를 선도할 것이다.
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This article puts forward a sustained approach in the perception of the processes of construction ofindividual and collectivemeanings and identities in relation to the musical (sub)genre Kpop.Thus, contrary to the logic that emphasizes the loss of relevance of the CD, we tried to demonstrate thatas an object of memorabilia and musical consumptionit remains alive within the K-pop culture.In fact, not only the CD, but also other memorabilia items that emphasize the creation of visual and identity narratives, in the sense that they are seen as a means to establish, maintain and cement a relationship with the idol.Thus, in parallel to the fact that K-pop, as a musical genre, has a global character, it also highlights individual, regional and local aspects, mainly due to the variety of products that are produced, following a personalisation logic at the same time as we are facing a mass selling process.Thus, through the use of a qualitative methodology (Guerra, 2021; Pink, 2020), we intend to analyze the memorabilia items of seven Portuguese K-pop fans, in order to perceive the processes of identity creation, but also to denote the symbologies and meanings that are built around the items.
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