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Journal articles on the topic 'Pop culture phenomenon'
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DEMIDOVA, OLGA, and VLADISLAV REZEN’KOV. "CONTEMPORARY POP CULTURE: PHENOMENOLOGY, AXIOLOGY, AESTHETICS." Studia Humanitatis 12, no. 1 (June 2019): 24–29. http://dx.doi.org/10.15393/j12.art.2019.3363.
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The article discusses pop culture as a modern phenomenon, the authors analyz-ing the notion of pop culture, its connection with «the mass», the axiological sys-tem of the young technological age generation as well as with the technical pro-gress as the basis of the epoch under discussion. Besides, comparing mass culture works (artefacts) with and juxtaposing them to those of classical culture, the au-thors explore pop culture structure and its connection with mass production conditioning the consumer society standards. Among of the foci of attention are the role of cinema in the formation, development, and functioning of pop culture and cinema product as its apex. One of the problems under consideration is that of pop culture as the sphere of different cultures interrelationships causing the least number of conflicts and thus acting as an instrument of the (seeming) cul-tural convergence of the peoples.
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Osadcha, Larysa. "The phenomenon of Korean wave in Metamodern European cultural environment." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 49–56. http://dx.doi.org/10.32461/2226-3209.2.2021.239930.
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Purpose of the article is to analyze reasons of rapid growth of the Korean cultural product popularity in European cultural environment, to identify coincidence of the worldview, aesthetic, gaming demands of the Western consumer audience and art patterns of the Korean mass-culture. The phenomenon of the rapid popularity growth of Korean cultural products is called the “Korean wave. According to statistics, K-pop forms 2% of GDP (for comparison, Korean aviation – 0,7 %). On March 2020 the artistic heritage of the nowadays most popular Korean pop-band BTS was recognized “the strategic export product” of South Korea. That’s why it is actually to study out reasons for the great popularity of the “Korean wave” among the Western European cultural environment. Methodology. Theoretical basis of the exploration includes authors as of the applying field of cultural science, so of the fundamental one. For example, N. Tytkova (2020) analyzes style peculiarities of the Korean wave, Y. Pak (2015) outlines the genealogy of the phenomenon according to the Korean ethnic mentality specificity. Appealing to the theoretical works of R. Popty (1996) and F. Jameson (2008), T. Vermeulen and R. van der Akker (2010) has facilitated deeper understanding as of the Metamodern features of the actual European culture so the specificity of nowadays Korean pop-culture. Scientific novelty. Popularity of the Southern Korean pop-culture in Europe and Northern America is caused not only by the marketing peculiarities of the K-pop industry but also by its reasoning with key values and demands of the metamodern Western culture, such as “new sincerity”, “sober fanaticism”, “pragmatic romanticism”, “causal esotericism”. Conclusions. The powerful request for the youth artifacts and practices is been formed in the West. But artistic and academic discourse is still been under the influence of distrustfully critical postmodern narrative. Thus, the rupture between the West’s philosophical self-reflective vocabulary and applied requests for the new sincerity, and new romanticism has created favorable conditions for the youth-oriented mass-culture import.
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Farhana Dinningrum, Rania, and Nur Latifah Umi Satiti. "phenomenon of fandom consumption in k-pop commodity through the army community." COMMICAST 3, no. 1 (November 23, 2021): 42–55. http://dx.doi.org/10.12928/commicast.v3i1.5108.
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The appearance of ARMY as a loyal fans is a response to what BTS has to offer as a K-Pop idols. Aside being a fan, their consumption behavior is inevitable. Along with the development of media technology and as a result of pop culture commodities, fans create its own meaning and culture as an active actor of consumption. This research provides an overview of the way consumption culture is formed in ARMY fandom and how it affects most significant aspects in their life. The researcher also wants to examine related to the concept of free fan labor that fans holds such an important role at maintaining the fan production culture in the web and benefit the K-Pop industry to broaden their market globally. This research uses a qualitative method. Then the researcher collects data by interviewing six informants who have consume BTS merchandise continuously with purposive sampling technique. The result of this research showed that fans consistently interpret the goods they consumed, the value they generate from their sense of closeness to BTS members. This research also demonstrated regarding fans becoming “free” fan labor with their own eagerness, along with the fan production culture results to the personalize customization into their own interest as an active and loyal costumer, with the exchange of pleasure they got from actively interact and exchanging feedback with another fans in the cyberspace.
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Sobur, Alex, Ferry Darmawan, Ratri Rizki Kusumalestari, Endri Listiani, and Dadi Ahmadi. "The Meaning Of K-Pop And Self-Concept Transformation Of K-Pop Fans In Bandung." MIMBAR : Jurnal Sosial dan Pembangunan 34, no. 2 (December 10, 2018): 414–22. http://dx.doi.org/10.29313/mimbar.v34i2.3729.
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This research is motivated by the phenomenon of Korean culture fans, especially fans of Korean Pop music (K-pop) in Bandung. Their unusual behaviors, such as hysterical screaming over their idols, mimicking the dances, angry if their idols are insulted, and putting K-pop as their top priority are very interesting elements for the researchers to explore more about K-pop fans, particularly in Bandung. Focus of this research is the definition/ meaning of K-pop and the transformation of self-concept of K-pop fans in Bandung. This research uses a qualitative approach. Schutz's phenomenological analysis are used to examine the phenomenon of K-pop fans in terms of their experiences. The subject of this research is the informant who has fulfilled two (2) criteria, namely a fan of K-pop and a member of Korean culture lover community. Based on the results of observations and interviews, there are three self-concept transformations of informants, namely (1) byeonhwa namnyosongeui (변화남녀성의), i.e. transformation of the masculine self-concept into feminine, (2) byeonhwa dad-eun yeollin (변화성의열린), i.e. transformation of the introvert self-concept into extrovert, and (3) byeonhwa uigyeon bad-eun (변화의견받은) which can be interpreted as transformation of the closed-minded self-concept into open-minded that appreciate other people’s opinions.
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Łacina-Łanowski, Artur. "Pop culture as an educational space. communication contecsts of culture and education in the postmodern society." Podstawy Edukacji 13 (2020): 75–85. http://dx.doi.org/10.16926/pe.2020.13.05.
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The important issue for a contemporary humanist has been the condition of culture in the postmodernity age. The author puts the currently dominant pop culture, that is too flexible and dynamic, on the opposite site to the high culture. In the postmodernity the pop culture standards determine the character of education space. Young people are looking mostly for enjoyment in the pop culture, what influences directly and indirectly the level of education. The result of this phenomenon is ongoing decrease of the level of schooling (education), what comes to the pauperization of the idea of an university. The communication is very important in the areas of culture and education. The most alarming is that the classical communication medium – vocal word, does not have enough influence to both very important processes: education and upbringing. Currently the most important is media coverage. There is a risk that the role of educator will be taken by computers.
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Spanu, Michael. "Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music." Open Cultural Studies 3, no. 1 (February 1, 2019): 195–206. http://dx.doi.org/10.1515/culture-2019-0018.
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Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.
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Tiladuru, Vena Melinda, Aji Suseno, and Yonatan Alex Arifianto. "STUDI DESKRIPTIF PERAN PENDIDIKAN KRISTEN DALAM MENYIKAPI K-POP." Way Jurnal Teologi dan Kependidikan 7, no. 1 (April 30, 2021): 1–15. http://dx.doi.org/10.54793/teologi-dan-kependidikan.v7i1.50.
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Korean Wave (K-pop) is a popular culture that is so favored by teenagers, it has made local culture shift. The transfer of Korean Pop Culture spreads widely through social networks as if it could not be prevented. The entertainment industry, music, films, magazines and other aspects always present everything that is synonymous with Korean culture. Opium from Korean Pop Culture has a devastating impact on adolescents as a result (1) fanaticism of Indonesian teenagers makes it more interested in exploring Korean culture, (2) Not passionate about learning, (3) wasteful lifestyle, (4) The emergence of fanfic no child which leads to pornography and porno-action. This research method uses a qualitative description by describing the K-pop phenomenon that occurs in adolescents and how to deal with the impacts experienced by adolescents, especially Christian teenagers in Indonesia. The results of this study indicate that the handling of Christian adolescents who experience K-pop addiction can be started from the environment where they grew up, among others, the family environment, educational environment, church environment. Both families, schools, churches as well as other youth formation groups have a role to play in instilling Christian values that lead them to experience spiritual growth. When the youth environment continues to introduce who Christ is for their lives, the example needed by youth has been answered through the example in Jesus Christ.
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Seo, Joo Hwan, and Bumsoo Kim. "The “Hallyu” phenomenon: Utilizing tourism destination as product placement in K-POP culture." Tourism Economics 26, no. 4 (March 14, 2019): 719–28. http://dx.doi.org/10.1177/1354816619837111.
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This article examines the effect of the Korean pop culture phenomenon also known as “Hallyu” on the inbound tourism demand of Korea. “Hallyu” products are exported throughout Asia and have been growing over the past decade. Using a Bayesian autoregressive model, we empirically investigate the product placement effects of “Hallyu” explained by the parasocial theory of previous literature utilizing inbound tourist data and show that “Hallyu” effects are also present in the overall tourism industry of Korea. The study illustrates that product placement can be a powerful marketing strategy in the tourism industry and highlights its importance for policy makers in creating a comprehensive joint plan for the development of long-term tourism.
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de Souza-Leão, André Luiz Maranhão, Bruno Melo Moura, Walber Kaíc da Silva Nunes, Vitor de Moura Rosa Henrique, and Italo Rogerio Correia de Santana. "No shame to play: Ludic prosumption on Brazilian fanvideos." Revista de Gestão 27, no. 4 (August 26, 2020): 335–52. http://dx.doi.org/10.1108/rege-04-2019-0043.
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PurposeFans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.Design/methodology/approachResearch based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.FindingsResults have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.Originality/valueCCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.
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Jones, Peter, Daphne Comfort, and David Hillier. "A commentary on pop up shops in the UK." Property Management 35, no. 5 (October 16, 2017): 545–53. http://dx.doi.org/10.1108/pm-10-2016-0055.
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Purpose The purpose of this paper is to outline the origins and nature of the pop up retail phenomenon, examine the development and characteristics of pop up shops within the UK and offer some reflections on the impact of pop up shops within the UK’s town and city centres and on the role of pop up shops within the wider retail economy. Design/methodology/approach The paper begins with a brief review of the pop up retail phenomenon and this is followed by an examination of the development and characteristics of pop up shops in the UK. The information on which the paper is based is drawn from the corporate websites of pop up shop operators and property management companies and agencies. Findings The paper reveals that pop up shops have been developed in a variety of formats and locations within the UK and a number of factors driving pop up shop development are identified including high retail vacancy rates in shopping centres, relaxations in planning regulations, the opportunity for retailers and entrepreneurs to market test products and brands and changes in customer behaviour and consumer culture. Looking to the future pop up shops may make but a small physical contribution to increasing the number of retail units on the High Street but by enhancing the experiential environment for consumers, they may make an important contribution to the quality of shopping. Originality/value The paper provides an accessible review of the origins, development and possible impact of pop up shops within the UK and as such will interest property professionals, academics and students interested in changes in the retail environment.
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Cahyo, Septian Dwi. "Postmodern Aspects of Electronic and Multimedia Music." Jurnal Kajian Seni 6, no. 1 (March 25, 2020): 16. http://dx.doi.org/10.22146/jksks.55035.
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Modernism spirit in the music of doing something new, create innovation and so on now facing an obstacle because material progression in new music become smaller and smaller. Based on this phenomenon, now composers nd other ways to develop their musical landscapes such as breaking the boundaries between music and other arts form until involving Postmodern aesthetic tendencies in their works. Many composers now breaking the boundaries of Modernism myth such as breaking binary opposition between high and pop culture, past and present and make it as another strategy to make music and also to give an alternative solution to the “hibernation” of material progression in new music. These phenomena are clearly appear in electronic and multimedia music where composers using many existing audio quotations from pop culture, using pop art element, and also using an existing audio quotation as a parody.
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Koo, Gi Yeon. "Riding the Korean Wave in Iran." Journal of Middle East Women's Studies 16, no. 2 (July 1, 2020): 144–64. http://dx.doi.org/10.1215/15525864-8238160.
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Abstract This study explores the Korean Wave and fandom in the Islamic Republic of Iran. It follows Iranian women’s consumption of Korean popular culture in the context of their general pop-culture consumption patterns and how they create a fan culture through social media and pop culture. This study is based on data collected through anthropological fieldwork in Tehran. User-generated content on social media, such as Telegram and Instagram, was used to examine how young Iranian women are actively leading the fandom culture through their daily fan-related activities and how, in doing so, they forge a sense of solidarity with other women and global fans. The fandom phenomenon of the Iranian Muslim women shows how youth can effect social change in Iran while demonstrating that it is possible to trace the cultural changes taking place in Iran.
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Min, Wonjung, Dal Yong Jin, and Benjamin Han. "Transcultural fandom of the Korean Wave in Latin America: through the lens of cultural intimacy and affinity space." Media, Culture & Society 41, no. 5 (September 14, 2018): 604–19. http://dx.doi.org/10.1177/0163443718799403.
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This article has examined how the Hallyu phenomenon is integrated into a transnational global cultural landscape, focusing on Chilean reception of K-pop. It analyzed how Hallyu fans engage with a social media-saturated environment in Chile, mapping out transnational pop cultural flows within the digital media environment through which the participatory culture of media users is spread. What is interesting is that Chilean society, in general, shows negative attitudes toward K-pop fans. More importantly, while many Chileans consider K-pop fans weird and strange, often disparaging their family members and friends for liking such music, the marginalization of K-pop fans in Chile promotes a greater sense of bonding among them through the affinity spaces of social media. Under this circumstance, most of our interviewees explained that digital media plays a vital role in the dissemination of K-pop in Chile and Latin America. Unlike Hallyu fans in other regions, K-pop fans in Chile have developed cultural intimacy specific to digital site-media, primarily in the realm of social media, and K-pop generates the creation of affinity spaces via different social media platforms.
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Wibowo, Andry. "Pop Culture, Identity Conflict, and Chaos: Studies on the Culture and Identity of Viking and Jakmania’s Supporters in the Indonesian Football Industry." MIMBAR PENDIDIKAN 3, no. 2 (November 17, 2018): 149–68. http://dx.doi.org/10.17509/mimbardik.v3i2.13951.
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ABSTRACT: Football is most popular sport in the world community. Football is also one form of pop culture itself, where football is no longer interpreted as a game or a way to exercise alone, but also become something that can be interpreted as a culture that bind various communities in the world. This research, by using the qualitative approach with case studies on conflict, will explore deeply about how social identity is present in football, especially in the context of football supporters in Indonesia as part of the development of the football industry in the world. This study has a focus on researching the phenomenon of cultural and local identity in the “Viking” of PERSIB (Bandung Indonesian Football Association) and “Jakmania” of PERSIJA (Jakarta Indonesian Football Association) supporter groups in football matches that are played in national competitions. The formation of identity transforming become an identity conflict in a crowd of football supporters to become the hallmark of football as part of the pop culture in Indonesia.KEY WORD: Pop Culture; Conflict; Identity; Crowds; Football in Indonesia. ABSTRAKSI: “Budaya Pop, Konflik Identitas, dan Kerusuhan: Studi tentang Budaya dan Identitas Suporter Viking dan Jakmania dalam Industri Sepakbola Indonesia”. Sepakbola merupakan olahraga yang sangat populer pada masyarakat dunia. Sepakbola adalah juga salah satu bentuk dari budaya pop itu sendiri, dimana sepakbola tidak lagi dimaknai sebagai sebauh permainan atau cara untuk berolahraga saja, melainkan menjadi sesuatu yang dapat dimaknai sebagai sebuah kebudayaan yang mengikat beragam masyarakat di dunia. Penelitian ini, dengan menggunakan pendekatan kualitatif tentang studi kasus konflik, akan mengkaji secara mendalam mengenai bagiamana pembentutakan identitas sosial hadir dalam sepakbola, terutama dalam konteks suporter sepakbola di Indonesia sebagai bagian dari perkembangan industri sepakbola di dunia. Penelitian ini memfokuskan kajian tentang fenomena identitas budaya dan lokalitas pada kelompok suporter “Viking” dari PERSIB (Persatuan Sepakbola Indonesia Bandung) dan “Jakmania” dari PERSIJA (Persatuan Sepakbola Indonesia Jakarta) dalam pertandingan sepakbola yang berlangsung melalui kompetisi nasional. Pembentukan identitas hingga kemudian bertansformasi menjadi suatu konflik identitas dalam kerumunan berbentuk aksi kerusuhan dan konflik menjadi ciri khas sepakbola sebagai bagian dari budaya pop di Indonesia.KATA KUNCI: Budaya Pop; Konflik; Identitas; Kerumunan; Sepakbola di Indonesia.About the Author: Andry Wibowo, M.H., M.Si. is a Student of Doctoral Program at the STIK-PTIK (Indonesian Police Science Institute – Indonesian Police Science University), Jalan Tirtayasa Raya No.6, Kebayoran Baru, Jakarta Selatan, Jakarta, Indonesia. E-mail: wibowoandry1993@gmail.comSuggested Citation: Wibowo, Andry. (2018). “Pop Culture, Identity Conflict, and Chaos: Studies on the Culture and Identity of Viking and Jakmania’s Supporters in the Indonesian Football Industry” in MIMBAR PENDIDIKAN: Jurnal Indonesia untuk Kajian Pendidikan, Volume 3(2), September, pp.149-168. Bandung, Indonesia: UPI [Indonesia University of Education] Press, ISSN 2527-3868 (print) and 2503-457X (online). Article Timeline: Accepted (July 1, 2018); Revised (August 17, 2018); and Published (September 30, 2018).
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Maulida, Chairunnisa Nurul, and Arina Dieni Kamila. "PENGARUH K-POP BRAND AMBASSADOR TERHADAP LOYALITAS KONSUMEN." KINESIK 8, no. 2 (September 10, 2021): 137–45. http://dx.doi.org/10.22487/ejk.v8i2.154.
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Korean culture is currently growing rapidly and expanding globally. It's existence tends to be accepted by public from various circles, resulting in a phenomenon of "Korean Wave" or also called Hallyu. This phenomenon can be found in Indonesia and its impact is felt in everyday life, especially for the millennial generation. This has led several companies such as Shopee to carry out promotional activities using the K-Pop Boy Group Brand Ambassador named Stray Kids to maintain consumers loyalty. This study aims to determine the effect of K-Pop Brand Ambassador on consumers loyalty. With quantitative research methods and explanatory research types with the aim of knowing how much influence K-Pop Brand Ambassadors have on consumer loyalty. Equipped with SR (Stimulus-Response), a theory which helps researchers in analyzing the influence of K-Pop Brand Ambassadors on consumer loyalty. The sampling technique in this study uses non-probability sampling with a total sample of 100 (one hundred) people in accordance with the criteria determined by the researcher. For data collections, this study uses a questionnaire with Likert Scale measurements, with the help of the SPSS program to assist researchers in calculating the results of the distribution of the questionnaire. The results of this study indicate that there is an influence between K-Pop Brand Ambassadors on Consumer Loyalty of 0.242 or 24,2%.
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Purnamasari, Hetty, and Imron Amrullah. "HARMONISASI DALAM KOMUNIKASI GURU DAN SISWA DI ERA MILENIAL MELALUI BAHASA INDONESIA DAN BAHASA TUBUH YANG BERETIKA." sarasvati 2, no. 1 (June 26, 2020): 52. http://dx.doi.org/10.30742/sv.v2i1.861.
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Efforts have been made to improve the quality of education and develop the character and culture of the nation, especially by educators. The phenomenon of Indonesian people's lives which shows the weakening of the character and culture of the nation which has been believed to have been a characteristic of the Indonesian Nation. Related to this, the problem of a teacher in guiding and fostering their students is very complex. This happens because of many phenomena, one of which is the rise of global culture and the lifestyle of Pop Culture, life tends to be hedonist. People who do not follow this lifestyle will feel inferior. This phenomenon is considered as the impact of the current of globalization which is no longer possible to stem.
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Wulansari, Dwi Windah. "K-POP NON-KOREA BUKAN APROPRIASI BUDAYA : ANALISIS WACANA KRITIS MODEL TEUN VAN DIJK." sarasvati 2, no. 1 (June 26, 2020): 62. http://dx.doi.org/10.30742/sv.v2i1.847.
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This research supports the structure of critical discourse when viewed from the perspective of Teun Van Dijk. The data source used was a video uploaded by the Indonesian representative entitled K-POP Non Korea EXP Edition. The method used is descriptive qualitative. The results of the analysis show that non-Koreans can be part of K-pop. Various pros and cons experienced by this EXP EDITION boy band, did not ignite their enthusiasm for a career in South Korea. The phenomenon in this EXP EDITION. Positive and negative opinion. Most of the supporters of this boy band because they see their efforts are not instantaneous as previously reported. Some consider that they are giving up Korean culture or what is cooler is called cultural appropriation. Associated with the practice of power and discourse accents. The practice of power in this non-Korean K-pop phenomenon. Reporting from the Columbia University official website, Bora Kim formed the EXP EDITION group and mapped it out with the aim of "discussing what Kpop and Kpop fandom are".
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Novarisa, Ghina. "REPRESENTASI DAN STEREOTYPE KELOMPOK HIJABERS SEBAGAI BAGIAN DARI POP CULTURE." Jurnal Ranah Komunikasi (JRK) 1, no. 2 (September 30, 2019): 11. http://dx.doi.org/10.25077/rk.1.2.11-20.2017.
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The aim of this research is to express the representation and stereotypes of the hijab community who call themselves "hijabers community" through the lifestyle and reality values displayed by the group. Hijabers community proclaims itself as the first hijab group in Indonesia. the existence of this group characterizes certain characteristics of course aiming to differentiate themselves from other groups and bring up their social status that is reflected by their lifestyle. Lifestyle is usually the property of people who have middle and upper economic abilities. Therefore their lifestyle becomes prestige for them and creates class. This phenomenon attracts attention to be seen how the actual representation and stereotype inherent in the lifestyle of the hijaber group. The research method used is the discourse analysis method to show the hidden motivation behind a text. The subject of his research was the text produced from the "hijabers community" group, namely print advertisements of several activities carried out and organized by the "hijabers community" group. The result is a lifestyle representation and stereotype inherent in the hijabers "hijabers community" group is a lifestyle pattern of the middle class and above that is more consumptive, teaching us to be consumptive, where the pattern is herded into a part of pop culture.
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Hanjani, Vania P., Amirudin Amirudin, and Eko Punto Purnomo. "Korean Pop sebagai Identitas Subkultur iKONIC." Endogami: Jurnal Ilmiah Kajian Antropologi 3, no. 1 (December 4, 2019): 72. http://dx.doi.org/10.14710/endogami.3.1.72-84.
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The popularity of Korean Pop culture can be used as a reference for adolescents to become a spear of maturity which ends in the formation of a subculture. We will discuss about how young people who gradually follow the development of iKON, a boygroup. They are willing to set aside most of the money they get, in order to fulfill their desire for satisfaction for iKON. iKON is a famous South Korean boy group that is currently very admired. This group has even won many awards and managed to become one of the closing guest stars of the well-known sports festival named ASIAN GAMES 2018 with their song Rhythm Ta and Love Scenario. With this phenomenon, more and more teenagers have decided to become iKONIC, an iKON fan community.This ethnographic and qualitative research will address the symbolic theory of interpretivism by Clifford Geertz which explains that culture is a system of regularity of meanings and symbols. With this meaning, each individual will communicate, establish, and develop knowledge about life as well as addressing life. Like teenagers who are members of the iKONIC community, they learn, receive and share the symbols from iKON. iKONIC will make iKON as a reference in doing everything in their lives. iKONIC is willing to buy many items related to iKON such as albums, merchandise, streaming passes, and even concert tickets that are very expensive. The more they are fond of the presence of iKON, the more they cling to the principles instilled by iKON. Their daily habits in imitating, accessing information continuously, result in their own dependence on them. The occurrence of many processes such as social contact, cultural understanding, the cognition system which became a symbol system, then shared, this is the reason existence of habits that continue to occur to become a culture for the iKONIC. So that a subculture is formed in the midst of a culture that has become widespread and entrenched.
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Othman, Siti Norliza, and Noor'ain Aini. "The Globalization of Hallyu Phenomenon: Impact on Malaysian Young Female's Attitude and Behaviour." Trends in Undergraduate Research 4, no. 2 (December 28, 2021): h29–38. http://dx.doi.org/10.33736/tur.4109.2021.
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Hallyu phenomenon is a globalized cultural product from South Korea that has spread uncontrollably into many parts of the world, and Malaysia was no exception. With the aid of media and the internet, the domination of its significant products such as K-drama, K-pop music, K-Food, K-Beauty, and technology brands left an indisputable impact on society. Hallyu's wide acceptance in Malaysia, however, received backlash from the anti-Hallyu group who criticized it for degrading the value of Malaysian culture, specifically targeting young females in Malaysia for their "obsession" with this foreign culture. This paper aimed to study the relationship between the globalization of Hallyu phenomenon and young females in Malaysia. It employed a quantitative method to explore the impact of Hallyu on young females' attitudes and behaviour by distributing online surveys to 300 targeted respondents with prior knowledge regarding the topic. The findings showed that the most popular Hallyu cultural product is K-Pop, which consequently further influenced their attitude and behaviour towards other Hallyu products. The success of Hallyu culture among young females in Malaysia owed a lot to the internet and social media as the tools to disperse information, hence shaping their thoughts, attitudes and behaviour on the issue. The results also noted a few behavioural changes among the respondents in terms of time and money spent on Hallyu products. Overall, this study suggested that most respondents have a positive attitude towards Hallyu and that any behavioural changes were still within their control, hence denying the claim of "obsession" and "degrading one's cultural value" as claimed by the anti-Hallyu group.
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Kariko, Abdul Aziz Turhan. "Malay Pop: Mass Media Hegemony in Indonesia Popular Music." Lingua Cultura 3, no. 2 (November 30, 2009): 99. http://dx.doi.org/10.21512/lc.v3i2.336.
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Article discusses the domination of Malay pop music through textual analysis of songs, observation of musical programs, and interviews with important figures. The research data were obtained by library research and analyzed through a critical theory approach to gain an understanding of the text and its effects. The article concludes that Malay pop contains a strong uniformity which may be termed a phenomenon in the context of the culture industry, while also being dominant because of its legitimacy created by the media. The nature of Malay pop is also very profitable for those participating in it, therefore the spirit of capitalism was also quite dominant in this context. There is also resistance from the indie music movement, and its attempts to fight regressive qualities of music that are legitimized in the mainstream mass media.
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Prasetiawan, Ahmad Yusuf, and Lis Safitri. "Muhibbin Sebagai Representasi Budaya Pop Santri di Banyumas." IBDA` : Jurnal Kajian Islam dan Budaya 18, no. 1 (April 29, 2020): 48–67. http://dx.doi.org/10.24090/ibda.v18i1.3356.
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The purpose of this paper is to provide a description of the emergence and rise of pop culture and the phenomenon of the Muhibbin which became a wave among students. Pop culture usually only lives in modern, urbanistic society, whereas Islamic boarding schools are known as Islamic education institutions that are generally traditionalist, closed, and conventional. As the pesantren metamorphic wave with many formal schools has sprung up since the 2000s, the pesantren’s contact with the outside world has become more intense, the influences of giving color, and new streams, especially in this social media culture, indications of the emergence of pop culture have strengthened. This study is a cross method or method combination of quantitative and qualitative, using participatory heuristic techniques (observation, interview, documentation), verification, and interpretation in digging data. This is sectional research or in a limited period (January-June 2019). Determination of informants using random sampling techniques, from 183 Islamic boarding schools listed in the Ministry of Religion Banyumas Regency, 31 boarding schools were taken, with each of the 3-4 students, bringing the total to 100 respondents. The results showed that the relationship between the santri community and pop culture was not new since the religious songs industry was booming, but with the emergence of the Muhibbin trend (lovers of the Apostles with sholawat songs), the santri community found the right form of contradictory relations between orthodoxy students with trendy pop, because Santri is the object and the subject at the same time. Muhibbin wave embodies a compromise between Santri’s sacred Islamic values and pop expression as a young spirit, where the age of santri in general.
Tujuan penulisan ini adalah untuk memberikan deskripsi tentang kemunculan dan maraknya budaya pop di kalangan santri dan fenomena Muhibbin yang menjadi wave. Budaya pop biasanya hanya hidup dalam masyarakat modern yang urbanistik, sedangkan Pesantren dikenal sebagai lembaga pendidikan Islam yang umumnya tradisionalis, tertutup dan konvensional. Seiring gelombang metamorfosa Pesantren dengan sekolah formal yang banyak bermunculan sejak tahun 2000-an, persentuhan Pesantren dengan dunia luar kian intens, pengaruh masuk memberi warna, dan arus baru (newmainstream), terlebih dalam budaya sosial media ini, Indikasi munculnya pop culture pun menguat. Penelitian ini merupakan cross methode atau metode kombinasi antara kuantitatif dan kualitatif, mengggunakan teknik heuristik partisipatoris (observasi, wawancara, dokumentasi), verifikasi, serta interpretasi dalam menggali data. Penelitian bersifat sectional research atau dalam kurun waktu terbatas (Januari-Juni 2019). Penentuan informan menggunakan teknik random sampling, dari 183 Pesantren yang terdaftar pada Dipontren Kantor Kementerian Agama Kabupaten Banyumas, diambil 31 Pesantren, dengan masing-masing 3-4 santri, sehingga total menjadi 100 responden. Hasil penelitian menunjukkan persentuhan komunitas santri dengan budaya pop bukanlah hal baru, telah terjadi sejak industri lagu-lagu religius booming, tetapi dengan munculnya trend Muhibbin (pecinta Rasul dengan lagu-lagu sholawat), komunitas santri menemukan bentuk yang tepat dari relasi yang kontradiktif antara ortodoksi santri dengan pop yang trendy, karena Santri menjadi objek dan subjeknya sekaligus. Muhibbin wave mewujudkani sebuah kompromi antara nilai keislaman Santri yang sakral dengan ekspresi pop sebagai semangat muda, dimana usia santri pada umumnya.
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Mazurkiewicz, Adam. "Dziwność istnienia. O nurcie „bizarro fiction” w polskiej literaturze." Literatura i Kultura Popularna 22 (September 6, 2017): 61–74. http://dx.doi.org/10.19195/0867-7441.22.4.
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Strangeness of Being. On a Current of Bizarro Fiction in Polish LiteratureIn modern culture bizarro fiction is an individual current of horror fantasy. It is distinguished by intentionally iconoclastic character of its artistic visions. To the axiological glittering of bizarro fiction undoubtedly contributes placing of this phenomenon somewhere between the pop culture it is inspired by typical for the kind usage of props and the fiction schema, independent culture overcoming the cultural and social taboo and avant-garde from whom it takes the idea of artistic experiment. Because creators of this phenomenon often use the technique of artistic excess the viewer cannot be sure if — searching for latent sense — they are not the victim of provocation; on the other hand, scandal and buffoonery may constitute amask which enables touching culturally important problems.
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Regev, Motti. "Israeli rock, or a study in the politics of ‘local authenticity’." Popular Music 11, no. 1 (January 1992): 1–14. http://dx.doi.org/10.1017/s0261143000004803.
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In recent years, pop/rock has ceased being an exclusive Anglo-American phenomenon. Local styles of rock might be found today in many countries, styles which merge local traditions with the rock aesthetic. Some products of these styles are distributed successfully in the USA and Britain under the large title of ‘ethnic pop’ (sometimes ‘world music’). The work on the emergence of these local styles tends to stress their ‘authenticity’ in one way or another: in the way they reflect political resistance, in the way they express cultural change (Szemere 1983; Fiori 1984; Vila 1987; Duran 1989; Siriyuvasak 1990; Bright 1986; Manuel 1988; Frith 1989). In addition, much of the work tends to be descriptive – there are hardly any attempts to theorise the emergence of pop/rock and its becoming ‘local authentic’ music. One salient exception is the work of Wallis and Malm (1984). They describe a two-way flow of musical elements, in which local or national music cultures both contribute to and pick up from an emerging body of music which they call transcultural. Anglo-American pop/rock is the nucleus of transcultural music. The simultaneous convergence of its influence, of access to music industry technologies, of local music culture and of the will to create something different explains, according to Wallis and Malm, the first stage of transculturation in the countries they studied.
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Płóciennik, Michał. "Philosophy-ing as a remedy to pop-cultural education crisis? Thoughts over Aldona Pobojewska’s suggestion of educating for self-dependence in the form of philosophy study workshops." Podstawy Edukacji 13 (2020): 105–17. http://dx.doi.org/10.16926/pe.2020.13.07.
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Pop culture, as an, at least aporetic phenomenon, in its modern, not earlier known, unheard-of display shows itself as a huge crisis and, at the same time challenge for traditionally-understood education, strongly existing in educational institutions and systems, which seems inadequate in the presence of modern requirements. The remedy for this problem Aldona Pobojewska sees in the humanities, more precisely – in philosophy. What really matters is philosophy-ing understood as a peculiar paradigm – educationally common, the standard model of which are workshops on philosophical thoughts. This text is a kind of critical attempt to investigate this suggestion in terms of modern, pop-cultural situation of education, for which is the suggestion both a diagnosis and a remedy.
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Meilinawati, Lina. "JILBAB: BUDAYA POP DAN IDENTITAS MUSLIM DI INDONESIA." IBDA` : Jurnal Kajian Islam dan Budaya 14, no. 1 (May 30, 2016): 139–55. http://dx.doi.org/10.24090/ibda.v14i1.623.
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The purpose of this study is to examine jilbab as a pop culture and Indonesian moslem identity. The use of jilbab (a headscarf or a head covering) for moslem women has gained its popularity since the last twenty year. This phenomenon is interesting to be investigated particularly from diverse jilbab or veiling practices in many different ways. Indonesian moslem women, for instance, used styles of jilbab and fashion which are different from those worn by moslem women in other countries. Hence, this shows characteristics of Indonesian moslem women in wearing or using jilbab which becomes an identity. Many scholars see identity as a product of social construction, and a fluid concept. This is due to the emergence of various identities resulted from different contexts. For the theoretical framework, this study uses Barthes semiotic analysis to interpret and decode the signs attached to jilbab and Indonesian moslem fashion as a part of pop culture and a new identity. The result of the study indicates that jilbab as a headscarf changes from time to time in terms of its use and styles. Jilbab styles worn by Indonesian moslem women adopted both local and global styles. This demonstrates the hybrid identity of Indonesian moslem women in wearing or using jilbab.
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Furdychko, Andrii, and Olesya Ilyenko. "VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 63–67. http://dx.doi.org/10.24061/2411-6181.2.2021.270.
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The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.
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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.
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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.
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Allen, Shaonta’, and Brittney Miles. "Unapologetic Blackness in Action: Embodied Resistance and Social Movement Scenes in Black Celebrity Activism." Humanity & Society 44, no. 4 (July 2, 2020): 375–402. http://dx.doi.org/10.1177/0160597620932886.
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American popular culture was established to appease a white audience and continues to operate in such a manner. This pervasive white gaze in the entertainment industry manifests in anti-Black depictions and ideologies. Black celebrities have resisted this distinct form of racial oppression by overtly affirming their Black identity in entertainment spaces. To further explore this phenomenon, the present article examines: How do Black celebrities employ unapologetic Blackness as an embodied resistance tactic to challenge racial inequality in pop cultural spaces? We analyze five cases of contemporary celebrity activism across various pop cultural platforms (YouTube, film, sport, music, and television) and find that just as race is socially constructed, varying across social locations, resistance to racial oppression also varies depending on the site in which it occurs. We further argue that Black celebrities’ embodied resistance converts pop cultural spaces into social movement scenes, thus transforming moments of entertainment into opportunities for political mobilization.
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Taufik, Egi Tanadi, Siti Mufidatunrofiah, and Nazifatul Ummy Al Amin. "QUESTIONING THE “KOREAN WAVED” HIJAB STYLE IN INDONESIA: A CONTEMPORARY QUR’ANIC APPROACH." Teosofia 9, no. 1 (April 28, 2020): 41. http://dx.doi.org/10.21580/tos.v9i1.5365.
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<em>Innovations on hijab have implications for the expansion of its users. Thus it encourages the growth of new identities for hijab which are then expressed by enriching its style, form, color tone, and fabric. The cultivation of hijab throughs the pop-culture of Korea arose and known as the “Korean waved” hijab. This paper has an opportunity to elaborate on hijab’s contemporary progression worldwide. It reflects the Korean pop-culture and identifies the authenticity of the tradition of wearing the hijab in Indonesia. It problematizes the issue of Korean hijab style and how the Quran responds to it. The research framework used a sequential exploratory model henceforth resulting in a scientific response to the phenomenon of Korea's creative industries in the making of an authentic Indonesian hijab model. The results answered the challenges of the vision of "Making Indonesia 4.0" in developing the industrial sector of textile in Indonesia by tracing ethical, aesthetical, and economic modes of hijab.</em>
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Malíček, Juraj. "Slovanská fantasy globálnym popkultúrnym fenoménom." Literatura i Kultura Popularna 26 (September 16, 2021): 119–26. http://dx.doi.org/10.19195/0867-7441.26.10.
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The aim of the paper is to introduce or rather (re)present The Witcher as a model-like pop cultural phenomenon illustrating the mechanisms within the framework of which a local hero, the main character of fantasy narratives written by Andrzej Sapkowski, transforms into a global hero. The Witcher — the character as well as the trademark, or rather brand — represents popular culture pars pro toto and emblematically a pop cultural artefact, undergoing a transformation on an axis from short stories to a novel saga, becoming an object of local cinematic and television-based adaptation and also a thematic basis for a successful digital-game series distributed globally, as well as recently a source of a high-budget television series designed for a global television market.
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Ha, Jarryn. "Uncles’ Generation: Adult Male Fans and Alternative Masculinities in South Korean Popular Music (Translation into Russian)." Corpus Mundi 2, no. 3 (November 9, 2021): 50–69. http://dx.doi.org/10.46539/cmj.v2i3.48.
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This article discusses the recent emergence of adult male fans of Korean pop (K-pop) music who openly engage themselves in fan activities typically associated with teenagers (particularly teenage girls) and the significance of their adoration of young female celebrities. The recent appearance of the ‘samchon/uncle fans’ in the K-pop culture discourse marks the first instance since the early 1990s, when teenagers became the primary target audience of South Korea’s entertainment industry, in which male adults reclaimed a significant position as a demographic group of fans. The samchon fans differ from the traditional ajossi (middle-aged, patriarchal men) listeners of adult contemporary music in the kinds of singers and musical genres to which they listen, as well as in their self-identification as fans, participation in fan activities and mass media portrayals. I investigate the implications of the men’s consumption pattern and their representation in South Korean mass media within the contexts of the history of the construction of hegemonic masculinity in South Korea and of recent developments in East Asian popular culture. I also explore possible ways to apply, complicate and question existing theoretical and conceptual frameworks to explain the phenomenon and argue for the possibility of politically potent, alternative masculinities constructed and manifested through the men’s conspicuous consumption of cultural commodities.
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Delank, Claudia. "The Painters of the Blaue Reiter and Japan." Journal of Japonisme 5, no. 1 (December 18, 2019): 71–91. http://dx.doi.org/10.1163/24054992-00051p03.
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Abstract Japonisme, like today’s Japanese pop culture, is a transcultural phenomenon. In the ‘classical phase of Japonisme’ individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence.
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Rinata, Asfira Rachmad, and Sulih Indra Dewi. "FANATISME PENGGEMAR KPOP DALAM BERMEDIA SOSIAL DI INSTAGRAM." Interaksi: Jurnal Ilmu Komunikasi 8, no. 2 (December 11, 2019): 13. http://dx.doi.org/10.14710/interaksi.8.2.13-21.
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Abstract. Korean wave has become a big phenomenon in Indonesia, enthusiasm and passion for K-pop culture has led to fanaticism for fans. The distribution of K-pop content on social media such as Instagram gives fans space to participate in supporting their idols and this is one of the factors forming the fanaticism of k-pop fans. This study aims to determine the fanaticism of kpop fans in social media on Instagram as well as how kpop fans respond in responding to hoax and negative information from favorite idols. This research uses descriptive qualitative methods and data collection techniques used are interviews, and literature study. The selection of informants used a purposive sampling technique. The results showed the fact that fanaticism fans in social media on Instagram evaluated through fan activities such as Meaning Making, Meaning Sharing such as interpreting K-pop idol posts as motivation in research, making posts amazed and happy for K-pop idols . Poaching by following fansite accounts and making fanfiction and making videos. Collecting such as uploading pictures about the official kpop merchandise needed and knowledge building with fellow fans. Fanaticism, kpop fans, also through fan responses, asking for information, hoaxes and negatives from their idols responded with many variations such as annoyance, anger until heartache. And to seek clarification of the truth of the news that is by looking at reliable sources such as the official Instagram account K-pop idol, official Instagram account management artist to the Korean major media such as Soompi, Allkpop, and press realease provided by artist management
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Ricker, Aaron. ""Crisis, Conspiracy, and Community in Evangelical Climate Denial"." Journal of the Council for Research on Religion 2, no. 1 (December 30, 2020): 72–91. http://dx.doi.org/10.26443/jcreor.v2i1.39.
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Statistically speaking, American Evangelical Christians are uniquely attracted to apocalyptic conspiracy theories when it comes to the topic of climate change. Since Evangelicals constitute a powerful voting/lobbying/shopping bloc, it is worth asking why this might be the case and what (if anything) can be done about it. To this end, my study considers the relevance of two major cultural tributaries to American Evangelical pop apocalyptic culture. In the first section I consider biblical apocalyptic culture and argue that the characteristic apocalyptic promise to disclose hidden divine plans to a misunderstood but soon-tobe- vindicated elect group naturally entails conspiracy-theory thinking. I argue further that apocalyptic imagination and conspiracy-theory thinking are powerful tools for the definition of identity and community. In the second section I turn my attention to the kind of Evangelical pop apocalyptic culture that helped push climate science denial into the Christian mainstream. I argue that in pop apocalyptic productions like the influential tracts and comics of Jack T. Chick, the image of the elect as the persecuted and powerful bearers of special knowledge found a new lease on life, and continues to fascinate millions with the attractive offer of somebody special to be and somewhere special to belong. I conclude that apocalyptic questions of crisis and conspiracy have a sociological function, as means to the end of defining social identity. Understanding this concrete function of conspiracy-theory thinking in Christian apocalyptic imagination can help in assessing and addressing the troubling phenomenon of Evangelical climate denial.
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Hong, Soonkwan, and Chang-Ho Kim. "Consuming the Korean: memetic kitschization of unorthodox aesthetics in Gangnam Style." Arts and the Market 6, no. 2 (October 3, 2016): 187–205. http://dx.doi.org/10.1108/aam-03-2015-0003.
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Purpose The purpose of this paper is to unpack an Asian-born celebrity culture in which celebrities become everyday necessities for global consumers’ identity struggle, prototypes for global branding strategy, contents for the media industry, and agents for sociocultural transformation. Design/methodology/approach In order to better elucidate such a significant phenomenon, the authors also introduce two mostly palpable and more relevant domains of celebrity culture to global consumer culture literature − politics of aesthetics and memetics − as analytical tools. Observations and publicly available narratives are also incorporated to enhance the review and critique of the global celebrification process. Psy’s Gangnam Style (GS) is chosen as an archetype, due to its exceptionally vulgar but highly replicable nature. Findings The specific case of GS exposes three unique qualities of kitsch − exaggeration, disconcertment, and subversive sensibility − that are substantially commensurate with prototypical characteristics of globalized online memes − ordinariness, flawed masculinity, theatricality, and ludic agency. Polysemy and optimism also facilitate the celebrification process in global participatory culture. Research limitations/implications The “radical intertextuality” of online memes sustains the participatory culture in which kitsch becomes a global icon through a reproductive process. Korean popular culture cultivates reverse cosmopolitanism through a nationalistic self-orientalization strategy that paradoxically indigenizes western pop-culture and transforms power relations in global pop culture. Originality/value This paper presents further elaboration of current discourses on global-celebrity culture by incorporating popular concepts and practices, such as kitsch, meme, parody, and sharing, which synergistically advance aesthetic liberation on a global scale.
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Czajkowski, Paweł, and Paulina Niedopytalska. "Paradoks Greya. O normatywnych/nienormatywnych wzorcach kobiecej seksualności." Forum Socjologiczne 8 (April 24, 2018): 69–95. http://dx.doi.org/10.19195/2083-7763.8.5.
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The paradox of Grey. On normative/non-normative patterns of female sexualityFifty Shades of Grey — there was much attention devoted to the books, then films and still is. This situation is due to the alleged revolutionary role of this work in discovering and transformation of feminine sexuality. The purpose of this article is to explain how the phenomenon of Grey turned out to be a marketing phenomenon and a social paradox. The „revolutionary” role of these pop-culture products has been limited to abolishing the taboos of feminine sexuality. However, it does not correlate with the real sexual emancipation of women who seem to desire a man’s domination in the erotic realm.
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Afanasieva, Olga V. "Fashion in Postmodern Political Communication." Almanac “Essays on Conservatism” 35.5 (October 16, 2021): 156–66. http://dx.doi.org/10.24030/24092517-2021-0-3-156-166.
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The goal of this article is to try to reach theoretical comprehension of the political fashion phenomenon. Conceptualization of fashion as an effect of mass communication allows one to see in it not only a phenomenon of pop culture but also an immanent side, and at the same time the main social, psychological and mental risk of the progress, – the accelerating humanity evolution. The article shows how modern values – novelty priority, truth accessibility, individualism, – and mass communications progress maximize the potential and danger of mass mental enthusiasm in political sphere. The author substantiates the following conclusion: political fashion in the communication mental context of postmodern appears to be the manifestation and factor the increasing crisis of social structure.
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Ivanov, Andrey G. "“Bowiemythomania” as a Phenomenon of Pop Culture: Organic Hybridity and Special Temporality in Creative Work of David Bowie." Galactica Media: Journal of Media Studies 4, no. 1 (March 21, 2022): 96–113. http://dx.doi.org/10.46539/gmd.v4i1.185.
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The article examines the features of constructing David Bowie’s mythology which has a pronounced hybrid character. The content analysis of D. Bowie’s works showed that he often used images that go back to classical mythological plots, and many popular songs and concepts of D. Bowie’s albums were created using mythologization mechanisms. The main creator of the myths was the performer himself, and the special mythological temporality constructed by the musician encompassed all modes of time, each of which could be correlated with a certain complex of myths. The specificity of such temporality in the case of D. Bowie was that it manifested itself in reverse chronological order: at the beginning of a career the future was mythologized, in the middle it was the present and at the end it was the past. Playing on various collisions of myth with reality and using the technique of myth reoccupation, D. Bowie demonstrated to the world all the creative power of “mythological reality”. It is noted that post-truth accompanied the musician’s career from the very beginning, contributing to the genuine disclosure of his talent. It is concluded that in relation to the heritage of D. Bowie, the term “hybrid mythology” acquires positive meaning. The singer manages to bring pop culture to a new level, giving rise to a phenomenon that we can call “bowiemythomania”.
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Batrićević, Ana. "THE ROLE OF TATTOOS IN PRISON COMMUNITY." Journal of Criminology and Criminal Law 58, no. 3 (December 12, 2020): 7–22. http://dx.doi.org/10.47152/rkkp.58.3.1.
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With their roots set deep in the tradition of many different cultures, carrying the mark of social stigma throughout the early ages of modern prison systems development, and finally, becoming fashion accessories inseparable from modern pop culture, tattoos obtain a rather specific meaning if made behind the prison walls. There are several reasons for that: their symbolism, the roles they have inside the prison community, their relation to criminal behaviour, their impact on offender’s re-socialization and re-offending as well as the health risks they cause. Having in mind the worldwide presence of this phenomenon and its local manifestations, the authors of this paper analyse its socio-genesis, taxonomy, functions and consequences as well as potential responses aimed at mitigating the negative impacts of prison tattoos on the life, health and reintegration of offenders.
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Emeraldien, Fikry Zahria. "CULTURE IN GLOCALIZATION PROCESS: A STUDY OF INDONESIAN NEWSPAPERS." Expose: Jurnal Ilmu Komunikasi 1, no. 2 (November 23, 2018): 82. http://dx.doi.org/10.33021/exp.v1i2.459.
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<p>Abstract - The present study examines the construction of global to the local content in Indonesian newspapers after New Order Era, Indonesia former President Suharto’s regime that was ended in 1998. In the so-called Reform Era, Indonesia entered a new phase of democratization which brings democracy towards newspapers and other media. Compared to the New Order Era, Indonesian newspapers currently have more variation in term of content, especially for entertainment. After employing a content analysis, Indonesian newspapers, which are Kompas and Jawa Pos, through their cross-cultural news in the entertainment section, are proved become more open to the other cultures. They have transformed from dominantly homogeneous -in 2004- to hybrid -in 2014- within glocalization, a perspective that can see micro-sociological phenomenon. This notion proves that glocalization does proceed, rather than keep constant, depending on the different cultural systems and structures, as well as the degree of local perception of glocalization.</p><p><br />Keywords: Glocalization, globalization, pop culture, Indonesia Reform Era, crossculture</p>
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Janeček, Petr. "The Spring Man of Prague." Fabula 61, no. 3-4 (November 25, 2020): 223–39. http://dx.doi.org/10.1515/fabula-2020-0012.
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AbstractThe paper discusses the phenomenon of a well-known Czech folkloric character, the Spring Man, in its broader historical, social and pop-cultural context. This fictional hero appears in contemporary legends and anecdotes popular mostly during the Second World War; the narratives about the Spring Man represent a regional version (ecotype) of an international migratory legend about the originally English jumping urban phantom Spring-heeled Jack. Similarly to his English predecessor, the Czech Spring Man became a hero of popular culture, which, after 2002, rebranded this originally ambivalent urban apparition into the “first Czech superhero” of cartoons, comic books and movies.
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Pratama, Aditya Putra. "Nature Republic dan Innisfree Sebagai Soft Power Brand Ambasador and Personality Korea Selatan di Indonesia." Jurnal Manajemen Strategi dan Aplikasi Bisnis 4, no. 1 (January 16, 2021): 1–12. http://dx.doi.org/10.36407/jmsab.v4i1.263.
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Brand Ambassador is an instrument of achieving the interests of the state which is popularly used South Korea as one example of countries that use their Brand Using (Hallyu) as the mediums to get achieved success in Indonesia. in 2002, Indonesia began to look at South Korea by showing Korean drama with the introduction of Korean drama in Indonesia through private television. The reason for the development of Korean pop culture (Korean Wave) in Indonesia is the embodiment of globalization. In the communication and cultural dimensions, South Korea is increasingly recognized by the Indonesian public drama that aired in Indonesia became the gateway for the entry of other Korean cultural products or known by the name Hallyu / Korean Wave, such as Korean pop music (K-Pop), Korean food (K-Food ), and Korean language and letters (Hangeul). It also makes many products made in Korea also enter Indonesia, including cosmetics, automotive, electronics, etc. As a form of Korean Nation Brand in Indonesia. So, Indonesian people can feel about (Hallyu) that came in. The purpose of this study will look at how Indonesia's attitude in responding to it and what is driving Indonesia's response to the phenomenon of Korean Skincare that uses as Diplomacy in Indonesia.
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Samikova, Nelli. "Mass Culture And Sociocultural Trends In The 21st Century: Interrelations And Realization (on the example of certain pop music samples)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233096.
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The transformation of the concepts ―mass culture‖, ―pop culture‖ and those artistic genres, which are their components, in the scientific discourse of the 19th-21stI centuries is traced. The ways and results of the interaction of modern culture and society, which is the end-user of the cultural product, are studied. Some examples of modern cinema and music industry are analyzed, and it is determined that these two components being the most used by the consumer spheres of art directly reflect the world social trends. After having considered the key social processes it is possible to conclude that they are brightly represented in the modern popular music and this fact allowed not only to specify and systematize the ways of interaction between the music art and its consumers, but also to trace the ways of how exactly a mass consumer shapes the functioning and development of a popular and mass product. The ideas of combating various discriminations (by gender, identification - as in the case of LGBTQ+ community, by physique, etc.) and the creation of unified polycultural space have been defined as the most common ideas, that are broadcasting by performers. Therefore, in the analysis of selected works of pop music, a polycultural approach was used, which allows to consider them in terms of the synthesis of cultures and the formation of a global product, i.e. the one that will be understood and accessible to everyone. The analytical section includes compositions written by performers over the past few years that makes this analysis relevant and demonstrates that isolated trends occur now and continue to transform and change. Such comprehensive approach to the study of the mass culture can be useful to clarify the definition of this concept, as the interpretation and evaluation of this phenomenon of scientists today differs, despite the significant number of the mass culture studies and its individual forms in various fields of science — philosophy, culturology, sociology, psychology
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Janiszewska-Szczepanik, Agnieszka. "The Compulsion to Create: Definition and Genesis of the Phenomenon." Creativity. Theories – Research - Applications 6, no. 2 (December 1, 2019): 250–63. http://dx.doi.org/10.1515/ctra-2019-0014.
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AbstractIs it possible to speak of the compulsion to create? And if so, what underlies it? In this article, I set out to offer a comprehensive explanation of what may cause the strong desire for creative activity observable in many artistically-inclined individuals. To describe this desire, I use the term compulsion to create, and drawing upon examples from both pop-culture and the lives of famous artists on the one hand, and philosophical and scholarly writings on the other, I seek its sources in the individual’s psyche. I discuss how the compulsion to create depends, among other factors, on an individual’s personality and mental state (in the sense of Sigmund Freud’s and Elaine N. Aron’s theories), transcendental circumstances (in the sense of Carl Jung’s theory) and character traits (as defined by Jordan Peterson). Then, I frame the phenomenon studied within the 4Ps Model of Creativity. I point to a significant correlation between the compulsion to create and high levels of an individual’s creativity. Additionally, I discriminate between the notions of the drive to create and the compulsion to create. The article proposes a definition of the compulsion to create which allows for a clear understanding of this notion and its popular application in the field of creatology.
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Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC." Arts education and science 1, no. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.
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Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movement, based on a search for new sources of inspiration for young musicians and composers, today the phenomenon of ethnic music presents a rich palette in contemporary music space. These directions, formed by merging elements of different national musical traditions, synthesizing different musical styles or combining different methods, have at their core the main component — traditional musical folklore, which is embodied in new modern forms, reinterpreted and interpreted by ethnic musicians. Thus, a rich corpus of folk music culture is preserved and actualized. Among the main directions of ethnic music, we distinguish: musical folklore; folk music; ethno-fusion; new age; ethno-jazz; ethno-electronics, including folk-rock, pop-folk, folk-house and other movements based on the synthesis of musical folklore and current musical styles.
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Sarantakes, Nicholas Evan. "Cold War Pop Culture and the Image of U.S. Foreign Policy: The Perspective of the Original Star Trek Series." Journal of Cold War Studies 7, no. 4 (October 2005): 74–103. http://dx.doi.org/10.1162/1520397055012488.
Full textAbstract:
Star Trek has been a major American cultural phenomenon. In the 1960s, when the original series was in production, the producers, directors, and writers attempted to use it as a forum to comment on a number of political issues. They intentionally designed some episodes to critique U.S. foreign policy in the belief that the United States should seek to foster democracy and refrain from using force that would undermine the country's positive role in international affairs.In part, then, Star Trek was a running effort to reshape the foreign policies of the United States.
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Passa, Davide. "“Reinas unidas jamás serán vencidas”: Drag queens in the Iberian Spanish voice-over of RuPaul’s Drag Race." TRANS. Revista de Traductología, no. 25 (December 30, 2021): 349–71. http://dx.doi.org/10.24310/trans.2021.v1i25.11450.
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RuPaul’s Drag Race (2009 – present) is an American reality television programme launched by RuPaul Charles, which has turned drag queens into a mainstream phenomenon. After briefly analysing the controversial figure of the drag queen in the light of Judith Butler’s performative turn, as well as drag lingo following Keith Harvey’s framework for identifying camp talk, this research aims at investigating the European Spanish voice-over of Seasons 8 (2016), 9 (2017) and 10 (2018). This work seeks primarily to analyse the choices that are made in the target text to characterise drag queens in the localised European Spanish version available on Netflix. The translation procedures mentioned in this study are partly adapted from Ranzato’s (2015) classification for culture-specific references. The analysis focuses mainly on the creative rendering of (semi-)homophony, drag terms, references to pop culture and grammatical gender.
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Wuryanta, Eka Wenats. "Di antara Pusaran Gelombang Korea (Menyimak Fenomena K-Pop di Indonesia)." Jurnal ULTIMA Comm 4, no. 2 (August 1, 2012): 79–94. http://dx.doi.org/10.31937/ultimacomm.v4i2.209.
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Globalization is a special phenomenon in human civilization that moves on the global community and is part of the global human processes. The presence of information and communication technologies to accelerate the globalization of this. Globalization touches all the important aspects of life. Globalization creates new challenges and problems that must be answered, solved in an effort to harness globalization for the benefit of life. In general, globalization means the increasing linkages between the people and places as a result of advances in transportation technology, communications, and information that led to the convergence of political, economic, and cultural. The discourse of globalization as a process characterized by the rapid development of science and technology so that it can fundamentally change the world. International transport and communications have removed the boundaries of each nation’s culture. Marshall McLuhan’s global village pioneer idea in his book Understanding Media, 1964 said: “Today, after more than a century of electrictechnology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned. “
Key word: Globalisasi, Gelombang Korea, Media Televisi, K-Pop, informasi dan Komunikasi
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de Sousa, Ana Matilde. "‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”." Mutual Images Journal, no. 7 (December 20, 2019): 3–26. http://dx.doi.org/10.32926/2019.7.sou.gaiji.
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This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.