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Organizing Fandom: Communicative Dyn...

James, Samantha,

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Organizing Fandom: Communicative Dynamics of Global K-Pop Participatory Fan Culture /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Organizing Fandom: Communicative Dynamics of Global K-Pop Participatory Fan Culture // Samantha James.
作者:	James, Samantha,
面頁冊數:	1 electronic resource (251 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
Contained By:	Dissertations Abstracts International86-04A.
標題:	Musical composition. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31690590
ISBN:	9798384442691

Organizing Fandom: Communicative Dynamics of Global K-Pop Participatory Fan Culture /
James, Samantha,

Organizing Fandom: Communicative Dynamics of Global K-Pop Participatory Fan Culture /Samantha James. - 1 electronic resource (251 pages)

Source: Dissertations Abstracts International, Volume: 86-04, Section: A.

Fans of Korean pop music (K-pop) have recently demonstrated their prowess for highly visible collective feats. However, they simultaneously hide behind anonymous profiles during daily interactions with one another and the public. This dichotomy exemplifies the changing nature of both fandom and participation writ large. That is, K-pop fans do not act in vacuum, rather, global dynamics have changed the shape of fandom to be more engaged and active while participation itself has become more distributive and less institutional. Therefore, understanding K-pop fan participatory culture provides insight into the contemporary state of public participation. This study draws upon the theoretical relationship participation has with affect, platformization, and organizational form. Then, using data from an on the ground participant ethnography and in-depth interviews with fans in South Korea and the United States, this ethnographic study traces the communicative dynamics of international K-pop fan participatory culture across three pillars: Identity, infrastructure, and practice.First, I find contradictory sensations of pride and shame affectively influence fan identity in ways that drive participation. Second, platformization shapes an infrastructure that fans experience via enculturation, regulation, and commodification, which they navigate in creative ways that simultaneously support and subvert systems of power. Finally, the third pillar of global K-pop fan participatory culture is practice. Fan practices demonstrate the properties of density, texture, reactivity, and volatility that define a viscous culture. These findings add to contemporary scholarship by emphasizing the idea that affect can be sensed in hybrid forms, carries hegemonic effects, and drives fandom participation in fan and non-fan activities through collective sensations of pride and shame. These findings also build upon literature on participation and infrastructure by adding that fan navigation tactics demonstrate the discourse of cultural imperialism in which, while fans recognize their role in platform capitalism, they are still unable to avoid participating. The characteristics of density, texture, reactivity, and volatility also give fan participatory culture its sticky and extremely dedicated qualities, which, when taken together, explain how fandom viscosity is a grounded example of organizational hybridity. This dissertation therefore shows how these three pillars constitute a unique fan culture that builds on interdisciplinary understandings of participation and offers the possibility for other affective platformized viscous cultures.

English

ISBN: 9798384442691Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Platformization

Organizing Fandom: Communicative Dynamics of Global K-Pop Participatory Fan Culture /
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520 $a Fans of Korean pop music (K-pop) have recently demonstrated their prowess for highly visible collective feats. However, they simultaneously hide behind anonymous profiles during daily interactions with one another and the public. This dichotomy exemplifies the changing nature of both fandom and participation writ large. That is, K-pop fans do not act in vacuum, rather, global dynamics have changed the shape of fandom to be more engaged and active while participation itself has become more distributive and less institutional. Therefore, understanding K-pop fan participatory culture provides insight into the contemporary state of public participation. This study draws upon the theoretical relationship participation has with affect, platformization, and organizational form. Then, using data from an on the ground participant ethnography and in-depth interviews with fans in South Korea and the United States, this ethnographic study traces the communicative dynamics of international K-pop fan participatory culture across three pillars: Identity, infrastructure, and practice.First, I find contradictory sensations of pride and shame affectively influence fan identity in ways that drive participation. Second, platformization shapes an infrastructure that fans experience via enculturation, regulation, and commodification, which they navigate in creative ways that simultaneously support and subvert systems of power. Finally, the third pillar of global K-pop fan participatory culture is practice. Fan practices demonstrate the properties of density, texture, reactivity, and volatility that define a viscous culture. These findings add to contemporary scholarship by emphasizing the idea that affect can be sensed in hybrid forms, carries hegemonic effects, and drives fandom participation in fan and non-fan activities through collective sensations of pride and shame. These findings also build upon literature on participation and infrastructure by adding that fan navigation tactics demonstrate the discourse of cultural imperialism in which, while fans recognize their role in platform capitalism, they are still unable to avoid participating. The characteristics of density, texture, reactivity, and volatility also give fan participatory culture its sticky and extremely dedicated qualities, which, when taken together, explain how fandom viscosity is a grounded example of organizational hybridity. This dissertation therefore shows how these three pillars constitute a unique fan culture that builds on interdisciplinary understandings of participation and offers the possibility for other affective platformized viscous cultures.
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