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11 pages
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The rise of K-pop represents a significant shift in the global music industry, challenging the Anglo-American and European hegemony. K-pop's burgeoning popularity, highlighted by viral successes like Psy's "Gangnam Style," showcases a new wave of Korean artists capturing global audiences through a unique blend of production, cultural adaptation, and extensive media engagement. This paper explores the structural dynamics of the global music industry, the K-pop value chain, and the mechanisms driving its international appeal, while addressing the implications for cultural globalization and the future of music distribution.
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This essay examines the cultural production, circulation, and consumption of the Korean music video Gangnam Style in the broader context of globalization. We conduct a chronological analysis of its distribution, production, and reproduction on YouTube, focusing on the interactions between traditional and new players in reinforcing and creating new meanings. We argue that the phenomenal success of Gangnam Style is due to the dynamic interplay of traditional and new media outlets, the active participation of global audiences, the video's spreadable hooks, a laissez-faire copyright policy, and the musician PSY's marketing strategies.
Drawing on qualitative interviews with Canadian-based K-pop (contemporary South Korean “idol pop” music) fans, this study discusses how transnational fans experience and interpret K-pop as a form of cultural hybridity that facilitates global imagination. In particular, the study explores how fans consume and translate transnational pop music while engaging with different modes of global imagination in their everyday lives. In so doing, the study contributes to a better understanding of the text and context of K-pop from the lens of audiences’ negotiation with globalization.
The Korean Wave—otherwise known as Hallyu or Neo-Hallyu—has a particularly strong influence on the Middle East but scholarly attention has not reflected this occurrence. In this article I provide a brief history of Hallyu, noting its mix of cultural and economic characteristics, and then analyse the reception of the phenomenon in the Arab Middle East by considering fan activity on social media platforms. I then conclude by discussing the cultural, political and economic benefits of Hallyu to Korea and indeed the wider world. For the sake of convenience, I will be using the term Hallyu (or Neo-Hallyu) rather than the Korean Wave throughout my paper.
International Journal of Communication, 2018
This paper seeks to explore how the industry and fans of Korean pop music challenge and subvert existing copyright and traditional global music industry structures. First, a sociopolitical history of Korea’s popular media contextualizes its current global positioning. The kpop industry utilized and benefited from the new media technologies that allowed them to bypass restrictive licensing issues in different countries. Also, a strong social-media based transnational fan culture consumes, creates, and distributes fan content in transformative and powerful ways.

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The paper shows that K-pop's success is attributable to its significant investment in creative training and marketing strategies, which utilize global digital platforms like YouTube more effectively than J-pop and C-pop, leading to higher visibility and audience engagement.
The study reveals that K-pop employs a unique production model characterized by a combination of venture capitalism and a rigorous trainee system, diverging from the conventional structures of 'high culture' music industries such as classical music.
K-pop's global ascendance accelerated in the 2010s, exemplified by Psy's 'Gangnam Style' viral success in 2012, which marked a significant turning point for Korean popular music's reach beyond Asia.
The research indicates that advancements in digital technologies, particularly real-time streaming and social media, have facilitated K-pop's global outreach, allowing artists to connect with an international audience instantaneously.
The paper notes that K-pop training programs emphasize aesthetics, with idols often undergoing extensive beauty regimens, leading to a standardized image that is culturally crafted to appeal to international fans, particularly women.
Designation: MSt (Musicology) Student Institution: University of Oxford Word Count: 3002 Words (excluding footnotes) resulting in the creation of a more vibrant, inclusive, and primarily export-oriented popular culture that non--Koreans can also relate to.
New Media & Society, 2016
While it has been more than 15 years since the Korean pop culture phenomenon known as the Korean wave or hallyu emerged, academic analyses have not sufficiently addressed its dimension as a media environment from a global perspective. In this regard, drawing on qualitative interviews with North American fans of the recent Korean wave, this study explores how the hallyu phenomenon is integrated into a social media-driven cultural landscape, which will be referred to as the social mediascape. The social mediascape of hallyu reveals that the technological affordances of social media platforms and fans' sociality interplay with each other, resulting in the rapid spread of hallyu as a set of impure cultural forms.
This essay aims to provide a deeper consideration of Hallyu’s success. The essay applies two cultural information perspectives in complementing the evaluation of Hallyu. First is Appudurai (1990) of ‘scapes’ model, the fluxes of information and media cultures. Second is Schiller’s (1991) cultural imperialism, commoditization and consumerism. The question is whether Hallyu’s success as being purely Korean, East and West mix, or illustrating much of Western domination. This essay argues that Hallyu is very subtly complex phenomenon of cultural flows, state involvement and increased technology availability that made it so successful.
This essay examines the cultural production, circulation, and consumption of the Korean music video Gangnam Style in the broader context of globalization. We conduct a chronological analysis of its distribution, production, and reproduction on YouTube, focusing on the interactions between traditional and new players in reinforcing and creating new meanings. We argue that the phenomenal success of Gangnam Style is due to the dynamic interplay of traditional and new media outlets, the active participation of global audiences, the video’s spreadable hooks, a laissez-faire copyright policy, and the musician PSY’s marketing strategies.