Producer: Shuji Abe, Nobuyuki Tohya, Nozomu Enoki, Toru Horibe, Junichi Sakomoto Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does.Taiyo no Uta (2006) Subtitle Indonesia 720p BluRay Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K-pop stars to new entertainment and art activities. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate-the ‘dance-intensive’ segment-and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Although narrow conceptions of gender, sexuality, race and age circumscribe the social imaginaries of K-Pop groups in deleterious ways, this chapter argues that critical responses must be attentive to the specificity of genre in the production of musical and viewing pleasures. At the same time, the estrangement between K-Pop’s performance spaces and tangible social lives also provides opportunities for audiences – and most conspicuously, for fanfiction writers – to reimagine Idols in everyday settings. Rather, genre specific expectations around homosocial performance create internal tensions in the presentation of K-Pop masculinity and femininity, tensions carefully negotiated by f(x) and dramatically unpicked in N.O.M’s ‘A Guys’, which I discuss in the final section of this chapter. Most Korean boy groups and girl groups present unrealistic social aspirations and ideal body types, but the narrative logics of K-Pop’s idyllic worlds also cannot be measured against the standards of social realism. This chapter argues that the gender politics of K-Pop videos are dependent upon their utopian narrative structures and performance conventions.
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