[Commlist] CFP: Transmedia Storytelling in K-Pop

CFP: Transmedia Storytelling inK-Pop
https://rebrand.ly/cfp-transmedia-k-pop

*** No payment from the authors will be required. ***

I am excited to invite submissions for a new volume titled Transmedia
Storytelling in K-Pop, which is under contract with Lexington Books—an
imprint of Bloomsbury Books.

Scholarship on K-pop has largely focused on its economic, historical,
and political dimensions. This research has rightly highlighted the
industry’s evolution from a government-supported cultural export to a
global capitalist phenomenon. Additionally, scholars have drawn from
fan studies to examine the development of parasocial relationships
between fans and K-pop idols, as well as the social impact of these
fan cultures. This volume distinguishes itself from existing
scholarship by emphasizing the narrative dimensions of K-pop. Drawing
inspiration from narrative theorist Brian Richardson, this collection
posits that K-pop storyworlds “challenge and extend existing practices
of fiction making,” provoking some key questions: What stories are
told through K-pop? How are these stories shaped by evolving media
forms? How do these stories, in turn, influence global media
practices? How and why do K-pop storyworlds eschew traditional
plotting, sequencing, and temporalities? And why should scholars pay
attention to K pop narratives at all? As a cultural project known for
its expansive concepts and intricate lore, I argue that K-pop offers a
unique perspective on emerging forms of global storytelling in a
hypermediated world. The “unruly narratives” found in K-pop thus merit
our sustained academic attention.

Historically, in-depth explorations of K-pop concepts have been the
purview of dedicated fans and fan communities, who invest significant
time and effort into appreciating and understanding the narrative
complexity of their favorite storyworlds. Despite this extensive fan
engagement, however, scholars have yet to fully engage with K-pop as a
storytelling mode. This collection aims to address that omission by
curating a series of essays about K-pop that focus specifically on its
transmedia narratives. By doing so, it seeks to enrich current
scholarship on transmedia storytelling, highlighting the sophisticated
and multifaceted nature of K-pop storyworlds.

Transmedia cultures, as described by Matthew Freeman and Renira
Rampazzo Gambarato, involve dynamic interactions between storytellers
and audiences—and among audiences—that bridge online and offline
worlds. In K-pop, these cultures are developed and facilitated across
media through song lyrics, instrumentals, music videos, short films,
concept images and posters, choreography, live performances, fashion,
merchandising, and more. This collection seeks contributors who are
attentive to these modes of transmedia storytelling. Indeed, it urges
contributors from a range of disciplines to afford K-pop the scholarly
attention already given to other well-known transmedia projects such
as the Marvel Cinematic Universe or Star Wars.

Ultimately, this call welcomes submissions that engage critically and
thoughtfully with the storytelling dimensions of K-pop. I am
interested in scholarly perspectives that explore a range of idols,
groups, and entertainment companies. Interdisciplinary viewpoints,
including those from cultural studies, literary studies, media
studies, and popular culture, are highly encouraged.

Potential topics:

* Prospective contributors are invited to explore, among other
possibilities, the following topics and issues pertaining to
transmedia storytelling within the realm of K-pop:

* Close readings of specific idols and idol groups that address the
political, cultural, or philosophical implications of their
storyworlds. For example, the transmedia narratives of æspa, ATEEZ,
Billlie, BTS, Dreamcatcher, ENHYPEN, EXO, LOOΠΔ (and/or ARTMS), Purple
Kiss, PIXY, TXT, and VIXX (among many others) warrant scholarly
attention.

* Close readings of specific songs or albums by idols and idol groups
that engage with transmedia storytelling as a form of social
commentary or critique. For example, the short transmedia narratives
of 2NE1, BIBI, (G)I-DLE, Holland, Huh Yunjin, Jiae, Kai, KISS OF LIFE,
SHINee, Sunmi, and T-ara (among many others) warrant scholarly
attention.

* Theoretical analyses of various modes of transmedia storytelling in
K-pop, including the role of music videos in creating and extending
narrative worlds; the use of social media platforms to enhance
storytelling and fan engagement; the interplay between visual
aesthetics and narrative construction in concept photos, posters, and
fashion; the significance of choreography and performance in conveying
story elements; and the narrative functions of K-pop merchandising and
promotional materials.

* Explorations of the development of transmedia ecosystems in K-pop,
including the impact of “multiverses” and “metaverses” on storytelling
throughout the industry.  This may include studies of the development
and use of emerging technologies in K-pop as part of the transmedia
world-building process, (e.g. artificial intelligence, extended
reality, virtual reality, avatars). This may also include comparative
analyses of transmedia storytelling practices across different idols,
groups, and companies.

* Cultural critiques of K-pop storytelling, including issues tied to
representation; equity and justice; post-feminism, heteronormativity,
queerbaiting, or cultural appropriation; the limitations of “girl
crush” concepts; etc. These critiques may also include explorations of
cross-cultural adaptations and receptions of K-pop stories or the
influence of K-pop storytelling on global popular culture and other
entertainment industries.

* Analyses of the impact of fan labor and paratextual modes of fan
engagement on the transmedia storytelling process, including fan art,
fan fiction, reaction videos, edits, parasocial interactions, and
more. This may also include an examination of the impact of fan
interpretations and fan-created content on official K-pop narratives.

* Investigations into the evolution of transmedia storytelling in
K-pop, tracing its origins, milestones, and key innovations. This
could include the examination of pioneering artists who have shaped
the transmedia landscape, as well as the evolution of narrative
techniques and technologies over time. This could provide insight into
how storytelling in K-pop has adapted to changing cultural,
technological, and market dynamics.

Submission Guidelines:

Please submit a proposal of 400-500 words and a bio of roughly 100
words by November 1, 2024. Proposals and bios should be emailed
directly to Dr. Nicholas E. Miller at (nmiller /at/ micds.org). Decisions
about acceptances will be made no later than December 1, 2024. The
deadline for completed chapters will be April 15, 2025. Final
manuscripts should be 5000-6000 words and should follow Chicago Manual
of Style formatting using the notes and bibliography system.
---------------
The COMMLIST
---------------
This mailing list is a free service offered by Nico Carpentier. Please use it responsibly and wisely.
--
To subscribe or unsubscribe, please visit http://commlist.org/
--
Before sending a posting request, please always read the guidelines at http://commlist.org/
--
To contact the mailing list manager:
Email: (nico.carpentier /at/ commlist.org)
URL: http://nicocarpentier.net
---------------