UCLA

This dissertation analyzes power dynamics within K-pop fandom(s)—a term encompassing fans within and beyond Korea—and examines how these dynamics contribute to nuanced perceptions of authenticity. Situated at the intersection of Media Studies, Area Studies, Gender Studies, Digital Humanities, and Ethnomusicology, this project employs online and offline ethnographic methods. By gathering insights from fans and professionals, my dissertation exemplifies a humanistic social science arguing for a nuanced understanding of cultural phenomena. In contrast to the dominant framework of the “Korean Wave,” which leverages K-pop's global popularity for nationalist ends and risks exoticizing Korean popular culture by often omitting the national context, this research project uses a combination of global and national perspectives as its main theoretical framework. It argues that the various perceptions of K-pop within its fandom(s) converge toward an imaginary concept of what “authentic” K-pop is. Utilizing its interdisciplinary framework, my ambition is to assert K-pop as a legitimate object of study within Korean Studies.