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Orientador(es)
Resumo(s)
Este trabalho pretende compreender o papel das plataformas transnacionais
como veículos de promoção do K-Pop e da sua disseminação à escala global. Partindo
das tipologias existentes de plataformas – físicas, digitais e híbridas – procedemos à sua
caracterização, à análise dos processos em que intervêm e ao exame das consequências
e tendências que delas decorrem. Para o efeito, recorremos a um questionário aplicado à
comunidade do allkpop.com, que nos possibilita conhecer os hábitos de consumo dos
fãs de K-Pop e nos ajuda a ilustrar os domínios de produção, distribuição, recepção e
processamento subsequente preconizados por Christoph Jacke, e através dos quais
estruturamos a presente dissertação.
A ausência de estudos que articulem os conceitos de K-Pop e de Plataformas
Transnacionais deixa espaço para esta tentativa de contribuir para o conhecimento
existente em áreas que despertam interesse pela sua relevância em várias dimensões.
This work looks into the role of transnational platforms as vehicles of K-Pop‟s promotion and of its dissemination on a global scale. Building on the existing typologies of platforms – physical, digital and hybrid –, it aims to describe them, analyse the processes in which they intervene, and assess both the consequences and the tendencies that derive from them. For that matter, it makes use of a survey applied to the allkpop.com community that sheds light on the consumption habits of the K-Pop fandom, and helps to illustrate the production, distribution, reception and further processing domains preconized by Christoph Jacke, on the basis of which this dissertation is structured. The absence of works that link together the concepts of K-Pop and Transnational Platforms leaves room for this effort to contribute to the current knowledge in fields that spark interest by its relevance in several dimensions.
This work looks into the role of transnational platforms as vehicles of K-Pop‟s promotion and of its dissemination on a global scale. Building on the existing typologies of platforms – physical, digital and hybrid –, it aims to describe them, analyse the processes in which they intervene, and assess both the consequences and the tendencies that derive from them. For that matter, it makes use of a survey applied to the allkpop.com community that sheds light on the consumption habits of the K-Pop fandom, and helps to illustrate the production, distribution, reception and further processing domains preconized by Christoph Jacke, on the basis of which this dissertation is structured. The absence of works that link together the concepts of K-Pop and Transnational Platforms leaves room for this effort to contribute to the current knowledge in fields that spark interest by its relevance in several dimensions.
Descrição
Palavras-chave
K-Pop Coreia do Sul Hallyu Plataformas transnacionais Indústrias culturais Soft power Nation branding South Korea Transnational platforms Cultural industries