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[Commlist] CFP: TikTok Cultures in Korea
Tue Jul 09 09:44:11 GMT 2024
[Call for Papers] *TikTok Cultures in Korea*
The TikTok Cultures Research Network is calling for submissions for our
10th event *‘TikTok Cultures in Korea’*, to be held online via Zoom on
*09 September 2024*.
In recent years the digital platform of TikTok has emerged as a
transformative global phenomenon, reshaping digital media landscapes and
cultural dynamics worldwide. This is particularly evident in South Korea
(hereafter Korea). Renowned for its strong digital infrastructure and
advanced technology, Korea has demonstrated a dynamic intersection of
TikTok and its cultural landscape. Initially, TikTok was colloquially
referred to as a ‘Chinese short video app’ (Piao, 2021) and faced
resistance from Korean society and the government. This complicated its
entry into a Korean market that proudly favored domestic goods and
services. Despite these initial tensions, TikTok has since introduced a
new vernacular in pop culture to stimulate the country’s digital economy
(Abidin & Lee, 2023), drive technological innovations (Lee, 2023), and
foster youth engagement (Cho, 2022; Shafie, 2021).
Specifically, in tandem with the country’s developed digital
infrastructure, TikTok has seamlessly integrated into Korea’s digital
ecosystem and expanded its influence, as seen in the sectors like music
streaming services (Park et al., 2023) and e-commerce (Lee 2023; Piao
2021). Beyond Korea's borders, TikTok has facilitated the cultural
export of Korean products globally, including the proliferation of K-pop
and the broader Hallyu phenomenon through TikTok memes and K-pop TikTok
dance challenges (Abidin & Lee, 2023; Oh, 2022). Influencers and their
followers also occupy TikTok as a space for cultural exchange and
hybridity, engaging with international trends while highlighting unique
elements of Korean heritage. This includes showcasing culinary
traditions, providing language tutorials, offering geopolitical
insights, and featuring travel content that celebrates Korea's rich
cultural tapestry (Vazquez-Calvo, 2023).
Moreover, TikTok resonates deeply with Korean-related youth, reflecting
and shaping national, cultural, social, and economic dynamics in line
with Korea's vibrant digital landscape (Baek, 2023). Beyond
entertainment and trends, TikTok fosters involvement in and
dissemination of news, social movements, and political discourse
relevant to Korea (Coscarelli, 2020). It provides a digital arena for
civic engagement, activism, and discussions on social issues, serving as
a catalyst for shaping public opinion and mobilizing communities around
social and political causes (Cho, 2022; Shafie, 2021). Nonetheless, on
TikTok pressing issues are also witnessed, such as the commodification
and fetishization of Korean cultures and the emergence of sensitive
topics and growing tensions between Koreans and non-Koreans, exemplified
by movements like #cancelKorea, which demands attention (Madarang, 2020).
Against this backdrop, this one-day online symposium aims to investigate
the dynamic intersection of TikTok and Korea, examining the profound
implications of TikTok in relation to the country’s unique positionality
in today’s mediascape. It seeks to explore the multifaceted role of
TikTok in Korea, as well as Korean cultures on TikTok, offering a
platform for scholars to examine the platform’s diverse impacts on
nation, culture, society, and economy. We are particularly interested in
original case studies, frameworks, and approaches developed by junior,
under-represented, and under-privileged scholars, as well as decolonial
perspectives that prioritize research from and by the
margins/marginalized in the Asia Pacific and Global South. By
integrating these dynamics, we aim to contribute nuanced insights and
foster scholarly dialogue that deepens our understanding of the evolving
mediascape driven by TikTok within Korean contexts.
We invite submissions of original research, theoretical papers, case
studies, and interdisciplinary perspectives in the fields of social
science and humanities. *Selected papers will be considered for a peer
reviewed edited collection. As such, we are only able to accept
original, previously-unpublished abstracts.* Suggested topics include
but are not limited to:
* TikTok and evolving digital media landscape in Korea (e.g.
platformization, digital economies)
* Hallyu (Korean wave) and TikTok (e.g. practice, economy, culture,
celebrity)
* Transnational cultural hybridity and exchange on TikTok
* Korean internet vernaculars and genres on TikTok
* Korean politics, activism, and social movements on TikTok
* Geocultural specificities of Korean TikTok and methodological notes
(e.g. TikTok algorithm, meme templates, etc.)
* Challenges, issues, tensions arising from the above
*Submissions comprise a 250-word abstract and 100-word bio and should be
sent to (TikTokCultures /at/ gmail.com) <mailto:(TikTokCultures /at/ gmail.com)> by
1700hrs (GMT+8) 5 August 2024. Notifications will be sent on 12 August
2024.*
For enquiries please contact (TikTokCultures /at/ gmail.com)
<mailto:(TikTokCultures /at/ gmail.com)>. For more information visit
TikTokCultures.com <http://TikTokCultures.com>.
*Key Dates:*
* *05 August 2024: Abstracts and biographies due*
* *12 August 2024:* Notifications of acceptance
* *09 September 2023: TikTok Cultures in Korea Symposium*
*References*
Abidin, C., & Lee, J. (2023). K-pop TikTok: TikTok's expansion into
South Korea, TikTok Stage, and platformed glocalization. /Media
International Australia/, /188/(1), 86-111.
Baek, B-y. (2023). /K-dramas, beauty, food to maintain popularity on
TikTok in 2024/. The Korea Times. 7 December.
https://www.koreatimes.co.kr/www/tech/2024/07/129_364666.html
<https://www.koreatimes.co.kr/www/tech/2024/07/129_364666.html>
Cho, M. (2022). Anonymous, QAnon, Tik-tok teens, K-pop fans.
/NECSUS_European Journal of Media Studies/, /11/(1), 169-193.
Coscarelli, J. (2020). Why Obsessive K-Pop Fans Are Turning Toward
Political Activism. The New York Times. 25 June.
https://go.gale.com/ps/i.do?id=GALE|A627547667&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=22699740&p=AONE&sw=w&userGroupName=anon~b7e1ee20&aty=open-web-entry
<https://go.gale.com/ps/i.do?id=GALE%7CA627547667&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=22699740&p=AONE&sw=w&userGroupName=anon%7Eb7e1ee20&aty=open-web-entry>.
Lee, J., & Abidin, C. (2022). Oegugin Influencers and pop nationalism
through government campaigns: Regulating foreign‐nationals in the South
Korean YouTube ecology. /Policy & Internet/, /14/(3), 541-557.
Lee, Y. J. (2023). Language learning affordances of Instagram and
TikTok. /Innovation in Language Learning and Teaching/, /17/(2), 408-423.
Lee, Y. K. (2023). Marketing Position Analysis of Short-Form Video
Platform Through Sns Big Data Analysis: Focus on Tiktok, Shorts, and
Reels in Republic of Korea. /Shorts, and Reels in Republic of Korea/.
Madarang <https://interaksyon.philstar.com/author/catalinamadarang/>, C.
R. (2020). /A deep dive into #CancelKorea trend and why it could be
problematic/. Interaksyon. 10 September.
https://interaksyon.philstar.com/trends-spotlights/2020/09/10/176665/a-deep-dive-into-cancelkorea-trend-and-why-it-could-be-problematic/
<https://interaksyon.philstar.com/trends-spotlights/2020/09/10/176665/a-deep-dive-into-cancelkorea-trend-and-why-it-could-be-problematic/>
Oh, C. (2022). /K-pop dance: fandoming yourself on social media/. Routledge.
Park, S., Jo, H., & Kim, T. (2023). Platformization in local cultural
production: Korean platform companies and the K-pop industry.
/International Journal of Communication/, /17/, 22.
Piao, Y. (2021, October). Study on the spread of Chinese short video in
South Korea against the background of cross-cultural communication. In
/2nd International Conference on Language, Communication and Culture
Studies (ICLCCS 2021)/ (pp. 325-330). Atlantis Press.
Shafie, T. (2021). Beyond Slacktivism: The cases of K-pop fans and
Tiktok teens. /International journal of social science research/,
/9/(2), 147.
Vazquez-Calvo, B., Duarte-Marti, S., & Zhang, L. T. (2023). Commenting
on learning Korean on TikTok and YouTube. /Interactive Learning
Environments/, 1-18.
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