K-Pop Marketing Tactics That Build Fanatical Behavior (original) (raw)
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Factors Influencing Identification as a Fan and Consumerism towards The Virtual K-Pop Group MAVE
2023
The K-Pop industry has been developing Virtual K-Pop Groups, a group with virtual human members made to be as similar to actual humans. Identification as a fan is one of the important factors in creating a purchasing behavior in the form of consumerism towards certain K-Pop groups. Therefore, this research was conducted to identify factors that significantly influence identification as a fan and consumerism towards one of the well-known Virtual K-Pop Groups, MAVE:. This research uses an extended Theory of Planned Behavior framework with additional audio and visual components, virtual group concept, peer influence and social media influence as the variables. The quantitative method used in this research uses a questionnaire with respondents from Indonesia who have at least once performed consumerism towards MAVE: as the data source. The data was analyzed using the Path Analysis method to examine the Influence between variables: attitude, subjective norms, perceived behavioral control, identification as a MAVE: fan and consumerism towards MAVE:. The result indicates that the virtual group concept's Influence on attitude and peer influence towards subjective norms are positively significant. Attitude, subjective norms and perceived behavioral control positively influence identification as a MAVE: fan. Also, identification as a MAVE: fan significantly influences consumerism towards MAVE: positively. This research aims to understand the consumer behavior of Virtual K-Pop Group consumers so that it becomes the basis for label companies that produce these groups to create effective strategies for generating revenue as the main goal of business.
Celebrity Worship on Early Adult K-Pop Fangirling
Proceedings of the 4th ASEAN Conference on Psychology, Counselling, and Humanities (ACPCH 2018), 2019
The development of the Korean wave in Asia, especially in Indonesia becomes a phenomenon that is widely discussed not only among adolescents but also lively discussed among early adults. The love of music or drama originating in Korea gave birth to a term of fangirl or female fans. Starting from a sense of awe, then the worship behavior is formed or often referred as celebrity worship. This study used qualitative method, case studies of 3 Fangirls aged 20-30 years. The data was reached by doing an observation and an interview then being analyzed by thematic analysis. The results showed that the three subjects liked their idol because their idol's talents and abilities and their idols could motivate and inspire their lives. They were active in finding news through any media regarding the existence of idols, fashion, love life, and the schedule of their idol activities. They also were willing to do voting activities so that their idols get prestigious music awards and are willing to profit from buying official albums, t-shirts, and items that are identical to their idols.
Negotiating fan identities in K-pop music culture
In this paper I bring together interaction, media, deviance, self, and identity to make sense of how young Singaporeans consume Korean popular (hereafter, K-pop) music and culture. My overarching goal is to highlight that being a music fan is not a straightforward or even easy experience. Rather, the self as music fan is continually developing within a complex variety of social processes, from the circulation of global, mass media representations to inter-and intra-personal interactions. I present data collected from a study on K-pop music consumption in Singapore, a small island-nation in Southeast Asia with an insatiable thirst for foreign culture. The data show how a group of Singaporean K-pop fans were regularly bombarded with largely negative messages about what it means to be K-pop music fans, and how these meanings affected their own negotiations as fans. K-pop fandom provided a sense of shared identity and status within popular youth culture, yet their experiences were often soured by negative media portrayals of deviant fans, whose behaviors risked stigmatizing the K-pop social identity. This paper thus deals with some of the problems for self that being a music fans entails.
Wear Your Voice Magazine, 2021
While "Global North" parasocialism tends to lean towards nonreciprocal parasocial interaction of fans merely admiring a celebrity, parasocialism in K-Pop fandom proves to be a more multi-directional devotion. And perhaps it is this veneer of a profoundly forged bond of mutual affection and the perceived authentic reading of an idol, that enables fans and fandoms to keep a measured distance from a structure of industry that encourages intense training, overexertion, and harsh social environments. Global North critics may be able to readily imbue projections of individualism, self-care, and self-preservation into their readings of this industry, condemning what, on the surface, appears to be a monolithically troublesome business. It is essential, however, to understand the underlying cultural foundations of industry mechanics to be able to fully reconcile why these seemingly exploitative tenants will remain, while some facets of the industry’s structure can be “fixed”.
The Success Factor of K-pop Music from The Fan's Perspective
2018
The original contribution of this paper is to identify a list of success factors of K-pop music and to validate the reliability of the factors identified. A quantitative survey was tested on K-pop music fans to find how these factors affect the fans' general satisfaction. An online survey form was generated and posted on the social media. Fans were asked to rate sixteen statements in terms of how likely each statement describes the reasons they like K-pop music. At the end of the survey, fans were also asked to rate their general satisfaction of K-pop music. A total of 207 samples were collected, and data taken from the respondents were processed with factor analysis, reliability test, descriptive statistic test, and multiple regression tests to obtain results. All the sixteen statements were found to be highly reliable. The results also showed that three scales are important elements in increasing fans' general satisfaction, with Korean culture as the most important scale, followed by the talent, and performance scales. However, the idol aesthetic scale was found to be statistically insignificant in this study. Implications of K-pop music's crossover with other music genres are discussed in this paper.
Indonesian K-Pop fans: The relationship between ARMY-BTS identity and their demographic
Journal of Social Studies (JSS)
This article analysed the fans’ identity among K-Pop fans in Indonesia, especially BTS fans. The study aimed to explore how these fans express their identity as fans both internally and externally despite negative stereotyping of loyal K-Pop fans. Using a quantitative method through online surveys based on the fans-identity scale approach, the research surveyed a total of 243 BTS fans in Indonesia. Results showed that BTS fans had a positive tendency toward overall fan characteristics. None of the characteristics showed a negative score. It indicated that there was a high loyalty among the fans. Almost all six-behaviour dimensions observed correlated with all seven fans-identity characters. “Specific social media accounts followed” showed no correlation with “enjoyment” and “identity” respectively. However, high loyalty and a large number of fan-based did not translate into monetization for official merchandise. Results showed a low number of purchases for official merchandise and g...
Polish K-Pop Fandom Phenomenon, Structure & Communication
2018
The book was written for people who would like to learn more about Polish K-Pop fandom, but it can also be of help for those who are looking for some basic information about fan studies or K-Pop in general. It is not only meant to provide a set of basic information on Polish K-Pop fandom, but also to connect Polish and international fan studies, which at this point are often focused on products of English-speaking cultures. There are many publications on fans of sports, celebrities or TV shows but K-Pop is different from these fields as it is something between a celebrity fandom and a music fandom, with many cultural elements influencing its shape. Some fans call K-Pop a “complete product” as it provides music, choreographies and visually refined music videos, but also a type of lifestyle, with elements of food, cosmetics, and everything South Korea has to offer. It is also a phenomenon that can be analyzed from many different perspectives – not only sociological or related to culture studies, but psychological or connected to political science or media studies as well. This text will focus more on people who form Polish K-Pop fandom, how they communicate within those communities and how they establish structures, instead of the media text itself and its interpretation.
The K-Pop Fans Perception Over a Cancel Culture Phenomenon
JURNAL LENSA MUTIARA KOMUNIKASI
This study examines the perception of K-pop fans towards a cancel culture phenomenon that is happening. The background of this thesis begins when cancel culture emerges and has been used against certain individual or groups of people as an act of boycott. This cancel culture is also happening within K-pop communities as an act of cyberbullying and has been used as a common term in social media platforms. This study uses qualitative as a research method with phenomenological approach to gain deeper information from the respondent. With semi-structured interview as a data collection method, this study expected to give a different experience from the respondent regarding cancel culture. As the results, six respondents have similar perception over a cancel culture phenomenon as most of them agree that cancel culture is inclined to the negative side. Although overall, cancel culture has both positive and negative sides. This research also finds that most respondents never experience the ...
K-pop Reception and Participatory Fan Culture in Austria
Cross-Currents: East Asian History and Culture Review, 2014
K-pop's popularity and its participatory fan culture have expanded beyond Asia and become significant in Europe in the past few years. After South Korean pop singer Psy's "Gangnam Style" music video topped the Austrian chart in October 2012, the number and size of K-pop events in Austria sharply increased, with fans organizing various participatory events, including K-pop auditions, dance festivals, club meetings, quiz competitions, dance workshops, and smaller fan-culture gatherings. In the private sector, longtime fans have transitioned from participants to providers, and in the public sector, from observers to sponsors. Through in-depth interviews with event organizers, sponsors, and fans, this article offers an ethnographic study of the reception of K-pop in Europe that takes into consideration local interactions between fans and Korean sponsors, perspectives on the genre, patterns of social integration, and histories. As a case study, this research stresses the local situatedness of K-pop fan culture by arguing that local private and public sponsors and fans make the reception of K-pop different in each locality. By exploring local scenes of K-pop reception and fan culture, the article demonstrates the rapidly growing consumption of K-pop among Europeans and stresses multidirectional understandings of globalization.
2020
Fandom, as a sociocultural construct, has been studied to understand the behavioral, sociological and psychological factors pertaining to fans (enthusiastic followers of a music artist, sports team, celebrity, or entertainer) (Meenaghan, 1998), and considered as a vital source of free labor to the fan club (Galuszka, 2015). The concept of fandom is more extensive than that of fanship in that it considers social interaction in terms of belongingness, that is, identifying as a member of a specific group (Galuszka, 2015; Reysen & Branscombe, 2010). The concept of fandom is currently an emerging issue in the extension of the contemporary music market driven by millennials, who are dominant music consumers and who share common interests in specific music artists as a means of expressing group identity (Fluent, 2017). Particularly among millennials, the foreign contemporary music market has globally emerged and enlarged fandom cultures primarily through online social media without barrier...