The Korean Wave, or Hallyu (한류), has captivated global audiences through the popularity of K-pop artists, Korean dramas like ‘Squid Game’, and films such as ‘Parasite’. This phenomenon has boosted...Show moreThe Korean Wave, or Hallyu (한류), has captivated global audiences through the popularity of K-pop artists, Korean dramas like ‘Squid Game’, and films such as ‘Parasite’. This phenomenon has boosted South Korea’s soft power, motivating people to become fans. This thesis investigates whether K-pop, as a soft power tool, has a similar effect on audiences in the Netherlands. An open-ended questionnaire was sent to 12 K-pop fans and 11 non-fans as a control group. Thematic analysis reveals that the K-pop fan group shows they are motivated to seek out more Korean-related content and have a more positive perception of South Korea. In contrast, the non-fan group acknowledges South Korea’s growing positive reception but express uncertainty. A theoretical framework to analyze soft power has been established. The study suggests K-pop can positively influence perceptions of South Korea, contributing to its soft power, though this is more the case for people who are already K-pop fans as opposed to those who are non-fans.Show less
This thesis explores the relations between parasocial relationships and sasaeng behaviour in the Korean entertainment industry. As K-pop has become more popular than ever through the Korean Wave,...Show moreThis thesis explores the relations between parasocial relationships and sasaeng behaviour in the Korean entertainment industry. As K-pop has become more popular than ever through the Korean Wave, companies have started to introduce more and more ways for fans to create strong attachments to idols through the form of parasocial relationships. However, because of these strong parasocial relationships, some fans have started to show obsessive behaviour towards idols. These so-called sasaeng fans will engage in all kinds of socially unacceptable behaviour to get close to their idol. Through three separate case studies, this thesis illustrates a connection between parasocial relationships and sasaeng fans. All the sasaeng fans that have been observed have some kind of parasocial relationship with the person of their affection. It can therefore be concluded that while not every fan will fall into sasaeng behaviour because they show a parasocial connection to the idol, a sasaeng fan will usually have formed a parasocial bond with someone prior to showcasing sasaeng behaviour. Thus, there is a correlation between sasaeng fans and parasocial relationships.Show less
In preparation for the 2022 Philippine presidential election, K-pop fans nationwide united to campaign for presidential candidate Leni Robredo. The most crucial organisation that set this in motion...Show moreIn preparation for the 2022 Philippine presidential election, K-pop fans nationwide united to campaign for presidential candidate Leni Robredo. The most crucial organisation that set this in motion, K-pop Stans 4 Leni, created a community to talk politics, campaign for Robredo, and spread truthful information concerning the election. Through interviewing a member of this organisation and circulating a survey, this research aims to research how and why Filipino K-pop fans used K-pop as a tool for their political expression and activism during the 2022 Philippine presidential election and, therefore, how K-pop can be political. Results show that the participants in the organisation are politically active in character. The organisation became a political force using K-pop mechanisms to mobilise many fans swiftly. This research concludes that the organisation used K-pop since it effectively mobilises a large demographic who support their goals. Furthermore, this thesis concludes that K-pop fandom can be political, as shown by KS4GG. However, it cannot be concluded that all aspects of K-pop are political due to a lack of political participation. As this research primarily analyses participants involved with the organisation K-pop Stans 4 Leni, this should be noted as a limitation and allows for further research to be done.Show less
This thesis examines traditional Korean elements and their use in the growing trend of K-pop. While the genre has grown into a worldwide phenomenon partly because of its easily identifiable musical...Show moreThis thesis examines traditional Korean elements and their use in the growing trend of K-pop. While the genre has grown into a worldwide phenomenon partly because of its easily identifiable musical elements, fashion and English lyrics, some K-pop artists have recently chosen to incorporate elements that do not fit the so-called "K-pop formula". By looking at two case studies that have strayed from the proven formula, this thesis aims to answer the question of what the purpose is in the use of traditional elements such as specific clothing and Folk music.Show less
Major debates surrounding contemporary popular culture is centered on the idea that female representation in popular media is reduced to stereotypical portrayals of gender roles. This is also known...Show moreMajor debates surrounding contemporary popular culture is centered on the idea that female representation in popular media is reduced to stereotypical portrayals of gender roles. This is also known as the male gaze, which illustrates the world from a male perspective.Subsequently, the notion of women as spectators and audience is neglected. The South Korean music industry is no stranger to this. As most K-pop girl groups are targeted at a male audience, studies concerning Korean girl group representation primarily focuses on the influence of the male gaze. This thesis purposes to analyze K-pop girl group music videos from a female gaze, which represents female artists from a female point of view. Subsequently, the female gaze provides a sense of empowerment as women are not objectified, instead, the woman is represented as an active player. As Girls’ Generation has a huge international female following, this thesis aims to explore how the female gaze plays a role in representing female empowerment in Girls’ Generation’s music videos.Show less
