Critical Approaches to Transmedia Storytelling in K-Pop

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Inbunden, Engelska, 2026

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In Critical Approaches to Transmedia Storytelling in K-Pop, contributors present a variety of compelling case studies to argue that K-pop has evolved beyond a musical genre into a global cultural phenomenon with a growing influence on contemporary media practices, highlighting its transmedia ecosystem in which complex narratives unfold and engage audiences across formats and platforms.An impressive roster of contributors assembled by editor Nicholas E. Miller explore how different artists and companies within the industry have constructed expansive storyworlds through a variety of media to draw fans into participatory, interpretive engagement. These analyses cohere to demonstrate how the narrative universes of K-pop have transformed cultural boundaries, industry economics, and global fan culture by strategically employing non-traditional elements and technologies that establish collaborative meaning-making and emotional investment as the basis of compelling fan experiences. As a result, this volume positions K-pop’s transmedial approach as not merely a marketing strategy, but as a sophisticated artistic framework which redefines the relationship between music, narrative, and performance in the digital age.

Produktinformation

Utgivningsdatum2026-03-19
Mått154 x 232 x 20 mm
Vikt540 g
FormatInbunden
SpråkEngelska
Antal sidor280
FörlagBloomsbury Publishing Plc
ISBN9781666978834

Tillhör följande kategorier

Medievetenskap inom Samhälle och politik
Kulturvetenskap inom Samhälle och politik
Populärmusik inom Kultur

AcknowledgementsIntroduction: Critical Approaches to Transmedia Storytelling in K-PopNicholas E. Miller (Independent Scholar, USA)Allusive Storytelling and Transtextual Strategies1. Generative Unruliness: World-Becoming and the Transmedia Logic of K-Pop in the Billlieverse Nicholas E. Miller2. Recursive Transmedia and the Eternal Return in BTS’s Bangtan Universe Courtney Lazore (Independent Scholar, USA)3. The Role of the (Un)Knowing Audience in Transmedia Storytelling: Why Seventeen’s “Son Ogong” Should Not Be Called “Super” but “Monkey King” in English CedarBough T. Saeji (Busan National University, South Korea) and Barbara Wall (University of Copenhagen, Denmark)4. Something Borrowed: Classical Music Excerpts as Intertextual Interventions in K-Pop Restaging Netta Huebscher (University of Gothenburg and Linnæus University, Sweden)Semiotic Ecosystems and Narrative Multiplicity5. Cracks in the Universal: Local Media Practices and the Limits of Transmedia Universality in K-PopOlga V. Lazareva (European University at St. Petersburg, Russia)6. Transmedia Storytelling and the Artwork Dispersed: Reviewing the Semiotic Constitution of NCT 127’s Cherry Bomb Lila S. Roussel (Université de Montréal, Canada)7. Breaking the Linear Timeline: ATEEZ’s Möbius Strip Storytelling Across Media and Meaning Agnese Dionisio (Waseda University, Japan)8. Authenticity as Storytelling: Self-Production and the Transmedia Storyworld of Stray Kids Arpita Kar (Independent Scholar, India)Digital Architectures and Participatory Design9. “Next Level”: aespa’s Storyworld and Cultural Significance Wonseok Lee (Yale University, USA)10. SYNK Dive into “KWANGYA”: Transmedia Storytelling and Emerging Technologies in K-Pop Qingyue Sun (Coastal Carolina University, USA)11. (My) BTS Universe Story: Sanctioned and Unsanctioned Transmedia Immersion in BTS Universe Story Kathryn M. Frank (Whitman College, USA)About the Editor and ContributorsIndex

From Marvel Universe Studios to K-pop entertainment houses, one of the key elements behind their global popularity has been the use of unique stories and transmedia storytelling strategies. Unlike previous academic works that primarily focus on screen cultures such as films, dramas, and animated programs related to transmedia storytelling, this book—one of the first academic studies to center on stories and transmedia storytelling in the K-pop world—offers innovative and distinctive approaches. The chapters in this edition coherently and consistently demonstrate the convergence of narrative, K-pop, and transmedia storytelling, making the book both valuable and enjoyable. This is a must-read academic work for researchers, students, and general readers alike.