LEADER 03640nam 2200565 450 001 9910796743203321 005 20200520144314.0 010 $a1-5036-0600-7 024 7 $a10.1515/9781503606005 035 $a(CKB)4100000004835126 035 $a(MiAaPQ)EBC5430258 035 $a(DE-B1597)563973 035 $a(DE-B1597)9781503606005 035 $a(Au-PeEL)EBL5430258 035 $a(OCoLC)1038796995 035 $a(OCoLC)1178769423 035 $a(dli)heb40045.0001.001 035 $a(MiU)MIU400450001001 035 $a(EXLCZ)994100000004835126 100 $a20180704d2018 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aK-pop live $efans, idols, and multimedia performance /$fSuk-Young Kim 210 1$aStanford, California :$cStanford University Press,$d[2018] 210 4$dİ2018 215 $a1 online resource (ix, 275 pages ) 311 $a1-5036-0503-5 320 $aIncludes bibliographical references and index. 327 $aHistoricizing 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. 330 $a1990'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 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." 606 $aPopular music$zKorea (South)$xHistory and criticism 606 $aPopular music$xPerformances$zKorea (South) 606 $aConcerts$zKorea (South) 606 $aMusic and technology$zKorea (South) 615 0$aPopular music$xHistory and criticism. 615 0$aPopular music$xPerformances 615 0$aConcerts 615 0$aMusic and technology 676 $a781.63095195 700 $aKim$b Suk-Young$f1970-$01482326 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910796743203321 996 $aK-pop live$93844431 997 $aUNINA