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Welcome to Part 2 of my ongoing series of bibliographic entries about Hallyu. From here on, entries will be arranged by SUBJECT rather than format (e.g., books). These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).
To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled “For Your Reading Pleasure: Introducing A Hallyu Bibliography.”
This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu
NOTE: In order to make it easier to locate authors (and where possible), I’m modifying these APA Style citations by adding full author names where possible.
Business
Ha, Y. G. (2006). The plans for Korean entertainment businesses concerning with the Korean Wave. KBI Focus, 6(17), 6-17
Lee, Jong-ho and Ok, Jung-won and Woo, Do-kang. 2007. The Study on Relationship of Structure among Brand Equity Factors of Hallyu. Business and Economy Studies,25: 73-96.
Yoon, Jung Keun. 2009. A case of slavery contract between singers and agency in Korea: 2009 KaHap2869. The Asian Business Lawyer, 5(123): 123-? Accessed 4 April 2012 from
http://210.101.116.28/W_kiss61/1f501057_pv.pdf
(partial scan).
Wenqing, Ji. 2009. Referring Korean experiences to enable the Chinese wind to outdo the “Korean Wave.”
Economics
Jung, H. 2006. The effects of consumer’s perception of Korean wave (Hallyu) on Korean product purchase and country image in Chinese market. Journal of Consumer Studies, 17(3): 79-101. (see also, Culture)
Doshisha, Yagi. 2008. International cultural exchange and economic impact. Accessed 29 March 2012 from
http://yagi.doshisha.ac.jp/culture/Culturalexchange_final[1].pdf
Huang, Xiaowei. 2009. Korean wave – the popular culture, comes as both cultural and economic imperialism in the East Asia. Asian Social Science, 5(8). Accessed 2 November 2011 from
http://www.ccsenet.org/journal/index.php/ass/article/view/3449/3123
Lee, J-Y. 2009. Contesting the digital economy and culture: digital technologies and the transformation of popular music in Korea. Inter-Asia Cultural Studies, 10(4): 489-506.
Oh, I. 2009. Hallyu: the rise of transnational cultural consumers in China and Japan. Korea Observer, 40(3): 425-459.
Ha, Bongjoon. 2010. Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Malaysian Journal of Media Studies, 12 (1): 53-60. Accessed 24 August 2012 from
http://biomed2011.um.edu.my/filebank/published_article/623/JPMM%202010_1%20Ha,%20Bongjoon.pdf
Ha, Bongjoon. 2006. Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Broadcast International Seminar on Southeast Asia and Korea, 7:1-87.)
Kim, Myung Oak and Sam Jaffe. 2010. The Korean wave: ebbing or flowing? In M.O. Kim and S. Jaffe The new Korea: An inside look at South Korea’s economic rise. pp. 163- 174, Accessed 26 April 2013 from
http://www.cognitivestyles.com/GINA_PCA/Korean%20History%20Etc/The%20New%20Korea%20An%20Inside%20Look%20at%20South%20Korea’s%20Economic%20Rise.pdf
Ahn, Shin-Hyun. 2011. Girls’ Generation and the New Korean Wave. SERI Quarterly, 4(4): 80-86.
Kim, Jeong Gon and Se Young Ahn. n.d. Patterns and impacts of Korea’s cultural exports: Focused on East Asia. Accessed 22 August 2012 from
*
http://home.sogang.ac.kr/sites/iias/iias04/Lists/b6/Attachments/52/6.%20Patterns_and_Impacts_of_Korea%20(Se%20Young%20Ahn_Jeong%20Gon%20Kim).docx
Happy Reading!
KDK/Nunee (M.S.L.S.)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
When you click the “KPK Members” link on our site, our bios’ upbeat language states we have certain skill sets that match well with the work of KPK, and you know that we are Kpop fans. I think our identification as Kpop fans is one of the unique characteristics of our collaboration.
While KPK members approach the work of KPK as people who truly enjoy and participate in Kpop culture and some associated activities, our passion for Kpop is a minimum requirement for the work we do. Our work also requires the courage to forge a path in a niche research area within a discipline that is still developing, a willingness to perform due diligence, and not unlike the most successful Kpop idols, the will to perform seemingly repetitive actions in pursuit of a professional and cohesive body of work for an audience who’d like to consume a quality product.
This past January, KPK marked its second anniversary, and in that time we have improved our artist profiles and expanded our research projects. In the same amount of time, the DH discipline still struggles with its very identity – literally. In a recent article in The Chronicle of Higher Education, William Pannapacker (with KPK’s apologies) pleads:
Stop calling it “digital humanities.” Or worse, “DH,” with a knowing air. The backlash against the field has already arrived. The DH’ers have always known that their work is interdisciplinary (or metadisciplinary), but many academics who are not humanists think they’re excluded from it….it seems more inclusive to call it digital liberal arts (DLA) with the assumption that we’ll lose the “digital” within a few years, once practices that seem innovative today become the ordinary methods of scholarship.
DH (or DLA) labels aside, KPK is performing the unique work of organizing Kpop artist information and Kpop fan activities during a time when DH standards are wide-ranging and many actions that were once considered within the discipline have been challenged as the field evolves. When KPK considers adding new projects or updating current ones, we revisit the evolving rules of DH and work to reconcile them with the KPK educational mission. Because of this evolution, our passion for Kpop (“let’s gather every single photo we can find of Eric because Shinhwa is awesome!”) has always been tempered by the scholastic/research activity of due diligence (“which photos of Shinhwa reflect a certain aspect of the group’s position in/influence on Hallyu’s development”). Burdick et al. assert that one of the characteristics of DH is “an emphasis upon curation as a defining feature of scholarly practice” (2012, 122). KPK’s projects reflect this characteristic because of our ongoing commitment to adhere to the latest standards where we can, and to question any standards that seem exclusionary to scholars who are doing good works in unconventional DH environments.
Hand-in-hand with due diligence is the time it takes to seek, evaluate, master, train others, and implement new technologies and curate our information so KPK’s work can be made public and is easily disseminated. When we started KPK two years ago, we used two tools for content creation: WordPress and Google Docs. As our work evolved towards curation, we discovered more tools and applied them to our work. More recently, KPK members have been trained on or exposed to a variety of digital curation platforms, including Omeka, Timeline JS, and Mindomo.
While these technologies make information gathering and presentation easier, it still takes quite a while to get work done. For instance, it takes about 4 hours to gather and curate all the items for the average KPK artist profile, and another 2 hours to input the items into KPOPIANA. That doesn’t take into account how long it takes to set up the artist’s exhibit. Since a lot of Kpop information is strewn all over the Internet (and in some cases, is contradictory or not available at all), this work can be tedious and repetitive – especially if you’re working on an artist that you don’t know well (or know, but who is not your favorite). Add this time to the hours we spend tagging and adding news to our information archive, annotating interesting articles, locating scholarly work, talking to fans, and preparing data for presentations, it becomes quickly apparent that my while my enjoyment of Kpop helps me get the job done, it isn’t the actual work of KPK.
The interesting thing is this: when I’m looking for information about an artist who I don’t know that much about; watching a music video of a group that makes me wonder how they ever made even one comeback; or analyzing a concept photo that leaves me questioning the entire cordi-noona empire –that is when my passion for Kpop kicks in, melds with my love of scholarship, and stokes my determination to get our work done right for the long-term fulfillment of the KPK mission.
Sources
Burdick, Anne, et al. Digital Humanities. Cambridge: MIT Press, 2012. Web.
Pannapacker, William. “Stop Calling it ‘Digital Humanities’.” The Chronicle of Higher Education. 18 Feb. 2013. Web. 5 Mar 2013.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
While some academics may be skeptical about the intellectual value of using a blog as part of their research, I have found that it has numerous benefits.
Some academics look down on blogging for research because it is goes against the conventional wisdom that the only things that matter in scholarship are peer-reviewed production: journal article, book chapters in edited collections, monographs. Scholars are concerned because we all know the weight such publications carry in annual evaluations, promotion and tenure and our overall reputations in our fields. We may reason, “If I’m going to spend my time writing, it needs to be on something that counts.”
Yes, these kinds of publications count, but they do not begin to capture the breadth of our scholarship. The process by which we engage ideas as we arrive at our brilliant conclusions is also scholarship, and blogging about our research can capture this. Kathleen Fitzpatrick notes, “When a scholar with a blog writes a bit about some ideas-in-process, receives some feedback in response, returns with further ideas, reiterates, and so on, we can glimpse once again the seriality that has always been at the heart of scholarly production.”
Blogging also documents that process. Rather than thoughts being lost in our own heads, blog posts capture our epiphanies as they occur. We rarely recognize how much intellectual labor we utilize. I find blogging to be a concrete way to capture that intellectual labor and map my own thought process. Nothing I write comes out fully polished and ready to go and that’s ok. In a piece last year for The Chronicle on Higher Education, Bruce Henderson noted what happens behind-the-scenes of scholarship production:
They do not see us reading, talking with—and listening to—colleagues, or translating new information into class notes or research ideas. They do not see us struggling to find out what is important in the overwhelming amount of new information in every discipline. Yet such consumatory scholarship is fundamental to up-to-date teaching, to the initial stages of research projects, and to institutional and community service based on expertise rather than just good intentions.
Blogging is one way to capture that consumatory scholarship. We all know you cannot write responsibly about something unless you know what’s already been written. I use blogging on my research site as a way to do that publicly. It’s helpful for me because I can see the product of my in-process thinking.
But there are other, less-discussed reasons for research blogging. Blog posts validate smaller sized articulations of our thinking. Being driven to write only journal articles or book chapters can contribute to the kind of unproductive mindset that Kerry Ann Rockquemore talks about in her essay on academic perfectionism. She asks: “Do you hold onto your drafts until you think they are perfect and only share manuscripts with others when they are in their most advanced stage?” “Do you have an intense fear of failure because it might reveal to others that you are not perfect (or have as much potential as others thought you had)?” “ Are you so fixated on the end goal of publishing your paper, receiving a grant, and/or getting stellar teaching evaluations that if you don’t meet the goal, it doesn’t even matter what happened in the process?” Positive answers to these questions may indicate a mode of perfectionism that produce ”self-defeating thoughts and behaviors that are aimed at reaching an unrealistic goal (perfection).”
I have found that blogging helps me to avoid these extreme views about my writing. It allows me to set smaller goals, and I write more. By writing shorter pieces, my writing improves in my peer-reviewed work as well.
Finally, blogging gave me a sense of control over my own work that we can lose working exclusively toward peer-reviewed publications. In exchange for the opportunity to be published, we give up the rights over our own work. This may contribute to the way academia operates an uncertain venture for some. Rockquemore notes that the academic environment is one “where there are no objective and transparent criteria for tenure and promotion, but instead a moving target of ever-escalating expectations” and “where success is largely under the control of others and rejection rates are astronomically high.”
Isn’t the ultimate goal of research to contribute to a body of knowledge that people can access? So, I decided that I would I write and publish small pieces of my research on my blog to share directly with the public: no paywalls, no passwords, no undecipherable jargon. Just the attribution will make me happy. I get to decide how others can use it through a Creative Commons license. If somebody asks me to translate a post in French, I can say yes because I exercise a measure of control over my own writing that I don’t always do in peer-reviewed publications.
It is also important to me that some of the writing I do should be the kind my family and friends can read. It was especially important for this work on Korean popular culture, because so much of my source material is in the public square and relies on the public production of others (i.e. fans) and their perceptions.
This writing has paid off I ways I could not anticipate. I have extended my academic circle and have been offered more traditional academic opportunities as a result of my blog writing. I engage with people who aren’t academics but have deep insights in my subjects. I talk to people.
Blogging our research may seem counterintuitive, but I know my traditional academic writing has benefitted as a result.
Sources
Fitzpatrick, Kathleen. “Blogs as Serialized Scholarship.” Planned Obsolescence. 12 Jul 2012. Web. 3 Mar 2013.
Henderson, Bruce B. ”Just Because We’re Not Publishing Doesn’t Mean We’re Not Working.” The Chronicle of Higher Education. 11 June 2012. Web. 3 Mar 2013.
Rockquemore, Kerry Ann. “The Cost of Perfectionism.” Inside Higher Education. 7 Nov 2012. Web. 3 Mar 2013.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
European Kpop Fans
By Crystal S. Anderson, PhD
Elon University (U.S.)
Whether it’s excited yelling by fans or crying by K-pop artists, emotions run deep in K-pop. While some focus on obsessive emotional attachments and behaviors by fans, research shows that fans themselves describe a range of emotional responses to K-pop. 100 responses by 18- to 30-year-olds show that fans find K-pop to be a source of happiness, hope and motivation. These responses are part of a five-year study on international fans of K-pop housed at KPK: Kpop Kollective.
Some writers tend to characterize fan activities and emotional expressions in negative terms. Patricia of Seoulbeats describes emotional expressions of appreciation for K-pop as bordering on obsessive: “I think there’s something to be said about my stance on the emotional toll that idol fandom takes on its devotees. That’s why I become so alarmed when I see these SHINee fans writing these intense emotional outpourings about how SHINee has changed their lives, or how much SHINee means to them. It breaks my heart to hear fans say that they turn to K-pop as a distraction for real life because their friends and family can’t offer them the same comfort that K-pop idols do.”
Adeline Chia writes that such emotions translate into obsessive behaviors: “Then there is K-pop’s effects on listeners. It turns functional people into crazed addicts, acting in robotic idolatry. . . . K-pop is also unique in inspiring extreme behaviour from fans and generating psychosis. Cyber-bullying and online smear campaigns are common practices by anti-fans who target a certain entertainer they hate. Sometimes, anti-fans turn into stalkers or criminals.”
Can’t Stop Loving You Infographic (Detail)
To view entire “Can’t Stop Loving You” infographic, click here.
However, fans talk about the emotional appeal of K-pop in more positive terms. Some talk about overall emotions that go beyond the lyrics. One notes, “Kpop has the power to touch people even for those like me who don’t understand the lyrics. I think [it] is the r[h]ythm, the emotion in the voices, the dances. Kpop is like a best friend, it is here for you whenever you are happy or sad. Powerful stuff.” Another said: “The music is more touching and you can feel the emotions of the singers when they sing regardless of what genre.” Others link emotions to performances: “They sing and perform with passion and emotions, so even if you can’t really understand the lyrics you will get to know what it’s about by just listening. Kpop is not just another type of music it’s much more, that I can’t describe it with words” (Anderson).
These responses echo what scholars have discovered about emotional responses to music that transcend cultural differences. In a study with Western listeners listening to Hindustani ragas, Laura-Lee Balkwill and William Forde Thompson find that it is possible for music to travel cross-culturally: “According to our model, this indicates that the psychophysical cues for joy, sadness, and anger were salient enough to enable listeners to overcome their unfamiliarity with culture-specific cues and to make an accurate assessment of the intended emotion. . . . That naive listeners demonstrated such a high level of agreement with expert listeners, who were deeply familiar with the culture-specific cues embedded in the music samples, is remarkable” (58). In other words, listeners from other cultures can identify emotionally with music of a different culture, and this may shed light on why global fans identify with K-pop emotionally.
This emotional response runs the gamut. Many respondents describe how they find K-pop to be fun and happy. One notes, “Cause the music is always so free and fun to dance to. It simply makes me happy.” Another adds, “The songs are really refreshing, and listening to it puts me in a happy mood because of their lyrics and beats.” Other respondents link the happiness they feel from K-pop to their lives in general: “It always puts me in a good mood and makes me feel energized. Kpop sometimes can make you feel like your part of something bigger. It’s hard to explain but the feeling it gives you is great” (Anderson).
Others related K-pop to more somber emotions. One respondent says, “Because it’s very different and the music touches something in me, I mean this is not superficial, there are feelings in every song, this could be happiness or some sad feelings.” Another notes, “When I listen to sad songs I find that it have feelings in it and it will touched me too.” One says, “There’s an upbeat to the music that sometimes make you want to dance other times depending on where you heard it from makes you sad” (Anderson).
Some fans talk about how K-pop helps them through hard times. One respondent notes, “It was introduced to me at a hard time in my life and it has been the only music I listened to help me get through it.” Another says, “Kpop appeared in my life all of a sudden. I was really depressed back then and it helped me get out of my miserable state, pulled me out of the worst” (Anderson). Music can have the therapeutic effect these respondents describe. Annemiek Vink explains therapy methods, such as Guided Imagery in Music, which is “based on the assumption that the most appropriate music can be selected for healing purposes.” She further finds that the choice of music impacts the therapeutic results of GIM: “In all aspects, carefully selected music based on the person’s preference and personal background was far more effective than standard relaxation music” (153, 154).
This range of fairly positive emotions challenges negative characterizations of their emotional expression. These responses come from adults rather than young teenagers, so it is less convincing to describe them as obsessive along the lines of Chia. She refers to incidents involving K-pop celebrities, but respondents speak about their emotions mostly in relation to the music. When they do comment on the artists, it is often in terms of the positive relationship they have with fans. One notes, “The singers are so dedicated to their music and their fans. They put their real emotion into every word” (Anderson).
This emotional connection that some K-pop fans feel also translates into a discourse of protection, the desire to protect their group or artist from mischaracterizations. The Triple S Pledge encourages fans of SS501 “To support and shield them through hard times…To ignore rumors.” The same sentiments can be seen in the “Prom15e to Bel13ve and 10ve” philosophy held by some fans of Super Junior, which acknowledges every member regardless of current status or sub-group membership.
These findings suggest that emotion plays a role in the attitudes and opinions of adult global K-pop fans, often in a positive way.
Images
Anderson, Crystal. Infographic. “Can’t Stop Loving You.” 14 Dec 2012. Web.
European Kpop Fans. Digital Image. WeHeartIt. Originally posted on european-kpop-fans.blogspot.com. 14 Dec 2012.
http://weheartit.com/entry/29104058
Sources
Anderson, Crystal S. “Data Set: Hallyu Kpop Survey 2 and Kpop Kollective KiFs Survey 2, 18- to 30 Year Olds.” Korean Popular Music International Fanbases Project. 29 Apr 2011 – 15 Apr 2012.
Balkwill, Laura-Lee and William Forde Thompson. “A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues.” Music Perception 17. 1 (1999): 43-64.
Chia, Adeline. “Sick Cult of K-pop.” Originally published on Straits Times. 8 Dec 2011. SGSJELFs & SupershowSG. Web. 8 Dec 2012.
http://sgsjelfs.wordpress.com/2011/12/08/sick-of-k-pop-cult-by-adeline-chia-of-straits-times/
Patricia. “Fans Love Oppa, But Oppa Is Uncomfortable With Such Feelings.” 24 May 2011. Seoulbeats. Web. 8 Dec 2012.
http://seoulbeats.com/2011/05/fans-love-oppa-but-oppa-is-uncomfortable-with-such-feelings/
TS Pledge. Triple S: The States. Web. 8 Dec 2012.
http://triplesstates.blogspot.com/p/about-triples.html
Vink, Annemiek. “Music and Emotion.” Nordic Journal of Music Therapy 10.2 (2001): 144-158.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
SHINee in Hanbok
By Crystal S. Anderson, PhD
Elon University (U.S.)
Most people identify K-pop by its use of Korean language and culture. Some see these as obstacles to the spread of K-pop worldwide. However, 142 responses by 18-to 30-year-olds show that Korean culture, and especially Korean language, appeals to global fans. These responses are part of a five-year study on international fans of K-pop housed at KPK: Kpop Kollective.
The ‘K’ in K-pop Infographic (detail)
To view entire “The ‘K’ in K-pop Infographic, click here.
Writers often point to the use of English as crucial to the success of K-pop in non-Korean speaking countries. Miketastic argues: “Many would say that the single biggest obstacle is the language barrier. . . . For K-pop artists, it’s going to be much tougher as very few of them can really speak English well enough to win the hearts and minds of America.”
Academics like Jaime Shinhee Lee also write about how important English is for K-pop: “K-pop provides discursive space for South Korean youth, either artists or audiences, to assert their self-identity, to create new meanings, to challenge dominant representations of authority, to resist mainstream norms and values, and to reject older generations’ conservatism” (446). In other words, Korean artists tend to use English for specific purposes. Lee also says that the use of English decreases the importance of Korean to a certain degree: “English makes K-pop less nationally marked and more regionally accepted” (447).
Some K-pop fans echo this idea. They say that they do not need to understand the Korean language in order to like K-pop. One notes: “Because of the songs that can touch you, even though you don’t understand what they are singing.” Another responds: “I like to sing along in Korean even though I don’t always understand what the lyrics means” (Anderson).
However, research suggests that global fans find the Korean language and culture important. A majority of respondents say that they listen to K-pop, in part, because of the Korean language. Several like the qualities of the Korean language itself. One respondent says, “I love being able to learn songs that aren[‘]t in English and I find Korean to be such a beautiful language,” while another “like[s] the sound of Korean language.” Others indicate that the Korean used in K-pop songs encourages them to learn the language better: “I also like being able to learn small words and phrases in Korean. It is a lot more fun than trying to learn a foreign language in the usual way” (Anderson).
Others link K-pop to Korean culture in general, despite its incorporation of American culture: One respondent explains: “Moreover, I love the US influence but its remains the “Korean detail” that makes this kind of music different.” Another notes, “I got dragged into KPop. . . because of Korean culture. Their culture is very addictive” (Anderson).
Global fans also learn about Korean social relationships through the way members of K-pop groups interact: “I am also fascinated by the whole Kpop culture which would refer to many things such as “stars relation” – the senior-junior (sunbae-hoobae) relationship; the start training system; some unwritten rules in the business; the variety shows just to name a few.” Another respondent says: “Not only the music, dancing and other talent, but with this K-Pop culture it teaches audiences to respect elders and their peers – also to respect themselves because of the Asian culture.”
Others note the impact of Korean cultural products, such as variety shows, which feature a combination of language and culture: “I also like the language more, but the reason I fell in love with K-Pop is the personalities of the Idols. If they weren’t all those variety shows, I wouldn’t have been that interested in K-Pop” (Anderson). For example, Shinhwa provides entertainment to audiences by playing a game where knowing the words to a Korean song is key on Happy Together:
Asian American respondents also find the use of Korean language and culture appealing. One noted: “I think that it is really relatable. I’m Asian-American, so I don’t see Asians much in entertainment. I like seeing people like me doing something cool like rapping, singing, and dancing.” Another explained the appeal of Korean culture in K-pop as a source of pride: “Being a[n] adopted Korean American (adopted in the 80′s) it was a way for me to discover my cultural roots when Korean people did not accept me because of my lack for Koreaness.’ Also in the 90′s and early 2000′s it was a way to show ‘Azn Pride’ as we called it” (Anderson).
This research may reveal the impact of conscious efforts by the Korean government to use K-pop as a vehicle for spreading Korean culture. Korea.net, the official website of the South Korean government, maintains a section devoted to Korean Wave in the K-Culture section of its website. In 2012, the Korean Cultural Center in Washington DC hosted a Hallyu Camp “designed to give fans of Korean pop culture in the Washington DC region a deeper understanding of the country, people, and society from which Korean pop culture originates.” Activities included “a variety of interactive workshops, lessons, discussions, and creative projects related to Korean traditional and pop culture, led by professional instructors and cultural experts” (Han Cinema).
Such use of Korean culture represents an example of soft power, defined by Joseph Nye as “the ability to get what you want through attraction rather than coercion or payments. It arises from the attractiveness of a country’s culture, political beliefs, and policies” (x). The Korean government uses K-pop to spread Korean culture in an effort to get other populations to engage with it. Doobo Shim also writes: “Motivated by the phenomenal success of Korean popular cultural products abroad, the government designated ‘cultural technology’ (meaning the technologies that produce television drama, film, pop music, computer games, animation, etc.) as one of the six key technologies along with IT and BT (Bio –technology) that should drive the Korean economy into the 21st century” (28).
Global locations like the United States do not have a tendency to embrace foreign-language musical culture. This has led some to speculate that K-pop must use English to be successful. However, these findings show that K-pop has already gained success with global fans as a result of K-pop’s use of Korean language and culture.
Images
SHINee. Digital Image. “16 KPOP Idols and Groups Dressed for Chuseok.” 30 Sept 2012. Ningin. 11 Dec 2012.
Anderson, Crystal. Infographic. “The ‘K’ in K-pop.” 11 Dec 2012. Web.
Sources
Anderson, Crystal S. “Data Set: Hallyu Kpop Survey 2 and Kpop Kollective KiFs Survey 2, 18- to 30 Year Olds.” Korean Popular Music International Fanbases Project. 29 Apr 2011 – 15 Apr 2012.
Crystalis0324. “(Eng Sub) 040930 [H@p py][T0g 3th er]- Shinhwa (4/5).” 26 Sept 2010. YouTube. 11 Dec 2012.
“Hallyu Camp 2012: Exploring Korean Pop & Traditional Culture.” 22 July 2012. Han Cinema. 7 Dec 2012.
Lee, Jamie Shinhee. “Linguistic Hybridization in K-pop: Discourse of Self-Assertion and Resistance.” World Englishes 23.3 (2004): 429-450.
Miketastic. “[OP-ED] Will K-pop Make It in America?” 23 Jul 2012. allkpop. 11 Dec 2012.
Nye, Jr., Joseph. Soft Power: The Means to Success in World Politics. Cambridge: Perseus Books, 2004.
Shim, Doobo. “The Growth of Korean Cultural Industries and the Korean Wave.” In East Asian Pop Culture: Analysing the Korean Wave. Ed. Chua Beng Huat and Koichi Iwabuchi. Hong Kong: Hong Kong University Press, 2008. 15-31.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License
Earlier this year I introduced KPK readers to the work I’m doing to collate and annotate as much scholarly information about Hallyu as I can. Without further ado, I share with you the first section, focusing on books covering Hallyu. Subsequent parts of this series will be identified by SUBJECT rather than format. Please note that these entries are listed by year, starting with 1991 (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).
Image from EducatorsWeb2-0
While collaboration is a huge part of digital humanities, is it the only way to do DH? If you are working on a digital humanities project by yourself, does it count as DH?
So, like a lemming, I’ve signed up to do DigiWriMo, a challenge to write a ridiculous number of words in the month of November online, or complete some similarly Herculean task.I thought this would be the perfect opportunity to jumpstart my iFans digital project. iFans: Mapping K-pop’s International Fandoms, examines K-pop fan behavior and attitudes.
“Do Not Re-Upload! If we found [sic] out that the — clip is re-uploaded, we won’t share a — clip again!” - Seen on YouTube (video uploaded on December 18, 2011).
“Credits and shot by b——y. For foreign fans: Please DO NOT modify the film and DO NOT take out without permission. – Please take out with full credits and don’t add yours [sic] credit in photo. – Do not modify the film & don’t cut the logo.” - Seen on YouTube (video uploaded on February 9, 2012).
“[Korea Data Blackout] is a movement of support for administrators of Korean fansites as well as fans all around the world who work very hard …to provide pictures and videos of Korean artists. It is also a movement to make international fans realize just how much these people provide to their fandom experience…and to help them understand how important it is to follow their rules.” - Korean Data Blackout website, September 2012.
Screen capture: Korean Data Blackout logo from KPK’s Digital Documentation of the website. Credit: Kaetrena Davis Kendrick.
Earlier this year KPK published an essay about American law-makers’ attempt to pass a bill that would hinder the free flow of information on the Internet. Described as a piece of legislation that would protect copyright on the World Wide Web – with particular regard to how those protections manifest outside the United States – the bill was deemed too far reaching in its scope, targeting websites who so much as linked to questionable information with severe penalties.
Seo Taiji, Gaon Chart
I just finished my first digital essay, Seo Taiji: President of Culture, for my digital humanities project on the cultural history of Hallyu-era Korean popular music, 1992-2009. But as I continue to build this Omeka site and design the project, I wonder: Is my project a digital humanities project? What am I doing? And am I doing it right? Such questions reflect recurrent anxiety about doing digital humanities with a popular culture project and how it might be perceived in the digital humanities and Korean popular culture studies realms.
Credit: Crystal S. Anderson, PhD (Elon University)
Academic research suggests adults like K-pop for a variety of reasons, the chief of which is music. These findings complicate assumptions about the identity of international K-pop fans and their preferences. According to 638 responses among 18- to 30-year-olds from around the world, other top reasons include choreography and idols.
Last month I shared why my background in Library and Information Science matches so well with the mission and work of KPK: Kpop Kollective. One of the roles I play is information provider (billed “Research and Information Clearinghouse” on that fine chart from last month’s blog). More and more frequently, visitors to our site are government employees, graduate students, and university faculty members from all over the world who have a strong academic interest in Hallyu. Since July 2011, I have been collecting and organizing citations of conference presentations, scholarly articles, book chapters and books covering all aspects of Hallyu, including popular music, television, fans, and more. In an upcoming series of posts, I’ll be sharing with you unannotated citations of items that I’ve discovered as I’ve mined information.
Venn diagrams of BOOLEAN Operator results. Created by Kaetrena Davis Kendrick, M.S.L.S. for KPK: Kpop Kollective.
