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Record Nr. |
UNINA9910466488503321 |
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Autore |
Kim Suk-Young <1970-> |
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Titolo |
K-pop live : fans, idols, and multimedia performance / / Suk-Young Kim |
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Pubbl/distr/stampa |
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Stanford, California : , : Stanford University Press, , [2018] |
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©2018 |
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ISBN |
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Descrizione fisica |
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1 online resource (ix, 275 pages ) |
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Disciplina |
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Soggetti |
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Popular music - Korea (South) - History and criticism |
Popular music - Performances - Korea (South) |
Concerts - Korea (South) |
Music and technology - Korea (South) |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Historicizing K-pop -- K-pop from live television to social media -- Simulating liveness in K-pop music videos -- Hologram stars greet live audience -- Live K-pop concerts and their digital doubles. |
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Sommario/riassunto |
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1990's South Korea saw the transition from a military dictatorship to a civilian government, from a manufacturing economy to a postindustrial hub, and from a cloistered society to a more dynamic transnational juncture. These seismic shifts had a profound impact on the media industry and the rise of K-pop. In K-pop Live, Suk-Young Kim investigates the meteoric ascent of Korean popular music in relation to the rise of personal technology and social media, situating a feverish cross-media partnership within the Korean historical context and broader questions about what it means to be "live" and "alive." Based on in-depth interviews with K-pop industry personnel, media experts, critics, and fans, as well as archival research, K-pop Live explores how the industry has managed the tough sell of live music in a marketplace in which virtually everything is available online. Teasing out digital media's courtship of "liveness" in the production and consumption of K-pop, Kim investigates the nuances of the affective mode in which |
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human subjects interact with one another in the digital age. Observing performances online, in concert, and even through the use of holographic performers, Kim offers readers a step-by-step guide through the K-pop industry's variegated efforts to diversify media platforms as a way of reaching a wider global network of music consumers. In an era when digital technology inserts itself into nearly all social relationships, Kim reveals how "what is live" becomes a question of how we exist as increasingly mediated subjects, fragmented and isolated by technological wonders while also longing for a sense of belonging and being alive through an interactive mode of exchange we often call "live." |
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