Araştırma Makalesi
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Türkiye’de K-Pop Hayranlığı ve Dijital Emek: Twitter Hayran Hesapları

Yıl 2022, Cilt: 9 Sayı: 17, 212 - 234, 31.12.2022
https://doi.org/10.56133/intermedia.1162180

Öz

Hallyu ya da diğer adıyla Güney Kore dalgası 1990’lı yıllardan itibaren etkisini küresel düzeyde göstermeye başlamıştır. Yaratıcı kültür endüstrisinin bir öğesi olan Hallyu Güney Kore hükümetinin de destekleriyle ülkenin temel ekonomik yapı taşlarından birini oluşturmaktadır. Bu endüstrinin en popüler görünümü olan K-pop yarattığı müzik grupları ile dünyanın birçok yerinde kendilerine hayran toplulukları bulmuştur. Özellikle genç bireylerden oluşan bu hayran toplulukları aynı zamanda dijital yerliler oldukları için hayran etkinliklerini de büyük ölçüde dijital uzamda gerçekleştirmektedir. Bu nedenle yeni medya ekosistemlerinde kültür ötesi hayranlık olgusunun nasıl gerçekleştiğini ve yeniden üretildiğini bu örnekler üzerinden okumak mümkündür. Bu araştırma da netnografi yöntemi ile BTS, Blackpink ve Stray Kids isimli K-pop gruplarının Twitter’da en yüksek takipçiye sahip olan Türkçe hayran hesaplarını incelemiş ve elde ettiği veriler ile bu hayran topluluklarının dijital emeklerini tartışmıştır. Araştırmaya dahil edilen bu Twitter hayran hesaplarının dört farklı dijital emek ortaya koyduğu gözlenmiş ve bunlar platform bildirisi, çeviri, haber ve algoritmaya yönelik eylemler başlıkları altında toplanarak yorumlanmıştır. Araştırma Türkiye’deki kültür ötesi hayran topluluklarının etkinliklerine dair eleştirel bir kesit geliştirmeyi hedeflemiştir.

Kaynakça

  • Abd-Rahim, A. (2019). Online fandom: social identity and social hierarchy of Hallyu fans. Journal for Undergraduate Ethnography, 9(1), 65-81. doi:https://doi.org/10.15273/jue.v9i1.8885
  • Annett, S. (2014). Anime Fan Communities: Transcultural Flows and Frictions. New York: Palgrave Macmillan.
  • Avşar, Z. (2004). Medyada Yoğunlaşma ve Şeffaflaşma: Yasal Düzenlemeler, Beklentiler, Sorun Alanları. İletişim Araştırmaları, 2(2), 87-112.
  • Binark, F. M. (2018, Nisan). K-Pop Fenomeni: BTS’nin ve EXO’nun dayanılmaz çekiciliğinin ekonomi politiği. Varlık Dergisi, 42-49.
  • Binark, M., & Keskin, A. (2021). Türkiye’de K-pop Karşıtı Söylem Ve K-pop Hayranlarının Taktiksel Mücadelesi. Moment Dergi, 8(1), 144-167. doi:https://doi.org/10.17572/mj2021.1.144167
  • Bok-rae, K. (2015). Past, present and future of Hallyu (Korean Wave). American International Journal of Contemporary Research, 5(5), 154-160.
  • Cote, M., & Pybus, J. (2014). Maddi Olmayan Emek 2.0’ı Öğrenme: Facebook ve Sosyal Ağlar. M. A. Peters, & E. Bulut (Dü) içinde, Bilişsel Kapitalizm Eğitim ve Dijital Emek (D. Öz, Çev., s. 241-270). Ankara: NotaBene Yayınları.
  • Digital 2021: Turkey. (2021). Aralık 19, 2021 tarihinde Datareportal: https://datareportal.com/reports/digital-2021-turkey adresinden alındı Duffett, M. (2003). Understanding Fandom: An introduction to the study of media fan culture. New York: Bloomsbury Publishing.
  • Fırat, D. (2017). Küresel yönde ters akış: Asya’dan doğan alternatif bir popüler kültür. Abant Kültürel Araştırmalar Dergis, 2(3), 67-74.
  • Fiske, J. (2001). The Cultural Economy of Fandom. L. A. Lewis (Dü.) içinde, The Adoring Auidience: Fan culture and populer media. Taylor & Francis e-Library.
  • Fuchs, C. (2013). Digital labour and Karl Marx. New York: Routledge. doi:doi:10.4324/9781315880075
  • Fuchs, C., & Sevignani, S. (2013). What is digital labour? What is digital work? What’s their difference? And why do these questions matter for understanding social media? TripleC: Communication, capitalism & critique, 11(2), 237-293.
  • Hardt, M., & Negri, A. (2003). İmparatorluk. (A. Yılmaz, Çev.) İstanbul: Ayrıntı Yayınları. Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York, London: New York University Press.
  • Kim, Y. (2021, Ağustos 5). K-pop sets another record on Twitter with 7.5 billion Tweets in a year. Blog: https://blog.twitter.com/en_us/topics/insights/2021/kpop-sets-another-record-on-twitter-with-7-billion-tweets-in-a-year adresinden alındı
  • Korean Foundation for International Cultural Exchange. (2020, Haziran 25). Global Hallyu Trends 2020. Haziran 9, 2022 tarihinde http://eng.kofice.or.kr/data/%5bKOFICE%5d%202020%20Global%20Hallyu%20Trends.pdf adresinden alındı
  • Kozinets, R. (2015). Netnography Redefined. Londra: Sage Publications.
  • Kozinets, R., Dolbec, P.-Y., & Earley, A. (2014). Netnographic analysis: Understanding culture through social media data. U. Flick (Dü.) içinde, The Sage Handbook of Qualitative Data Analysis (s. 262-276). Londra: Sage Publications.
  • Lazzarato, M. (2006). İmmaterial Labor. P. Virno, & M. Hardt (Dü) içinde, Radical thought in Italy: A potential politics (s. 133-147). Minneapolis: University of Minnesota Press.
  • Morimoto, L. (2018). Ontological Security and the Politics of Transcultural. P. Booth (Dü.) içinde, A companion to media fandom and fan studies (s. 342-364). John Wiley & Sons.
  • Oh, C.-J., & Chae, Y.-G. (2013). Constructing Culturally Proximate Spaces through Social Network Services: The Case of "Hallyu" (Korean Wave) in Turkey. Uluslararası İlişkiler/International Relations, 10(38), 77-99.
  • Parc, J. (2022). Measuring the Impact of Hallyu on Korea's Economy: Setting Off on the Wrong Foot. Korea's Economy, 32, 27-35. https://keia.org/wp-content/uploads/2021/10/KEI_Koreas-Economy_2021_211019_Parc_2.pdf adresinden alındı
  • Pesek, W. (2019). BTS Can’t Save South Korea, Though Its $4.7 Billion GDP Boost Sounds Good. Forbes. Haziran 9, 2022 tarihinde https://www.forbes.com/sites/williampesek/2019/10/10/bts-cant-save-south-korea-though-its-47-billion-gdp-boost-sounds-good/?sh=47cda4442412 adresinden alındı
  • Reed, C. (2022, Ocak 6). The Most Popular K-pop Groups Of 2021. Haziran 10, 2022 tarihinde Ranker: https://www.ranker.com/list/best-kpop-groups-2021/music-lover adresinden alındı
  • Terranova, T. (2015). Bedava Emek: Dijital Ekonomide Kültür Üretimi. Folklor/Edebiyat, 21(83), 343-363.
  • Yıldırım, A., & Şimşek, H. (2018). Sosyal Bilimlerden Nitel Araştırma Yöntemleri. Ankara: Seçkin Yayıncılık.

K-Pop Fandom and Digital Labor in Turkey: Twitter Fan Accounts

Yıl 2022, Cilt: 9 Sayı: 17, 212 - 234, 31.12.2022
https://doi.org/10.56133/intermedia.1162180

Öz

The phenomenon of transcultural fan communities emerges as an increasingly spoken concept due to the effective use of social media platforms by fan communities. Digital activities of those fan communities are discussed by communication scholars with the concepts of digital labor. The most current and active examples of digital fan communities are Hallyu fan communities. The cultural products of Hallyu, that is, the South Korean Wave, which have developed especially in the last 10 years in Turkey as in the world, have created their own fan communities. The fact that the field where Hallyu is most prominent is South Korean pop music called K-pop makes this cultural product an important example for the conduct of these discussions. K-pop music bands BTS, Blackpink, and Stray Kids are currently very popular on lists. Because of that within the scope of this research, the Turkish fan accounts of those K-pop bands on Twitter were examined. Netnography was determined as the method of the study. Netnography refers to a qualitative research method conducted in digital space, using data from public forums. Netnography being a cheaper, faster and simpler method than ethnography is seen as its advantages (Yıldırım & Şimşek, 2018, s. 229-230).

The data obtained between 13 June 2022 and 19 June 2022 with the netnography method were discussed within the framework of the concept of digital labor. The research revealed that these fan accounts show four different types of digital labor; platform notifications, translation, news and algorithmic actions. The obtained data were analyzed by coding and hermeneutic interpretation. Because, as Kozinets, Dolbec and Early (2014) stated, in netnography, the researcher is not only an observer but also a participant. According to them, the researcher creates cultural codes to make sense of virtual social spaces and then interprets communities (s. 270).

Mostly the digital fan communities show translation effort as digital labor. In this type of digital labor, fans offer their foreign language knowledge as a cultural capital. In addition, the fans undertake tasks according to their different skills for video editing while translating videos. In these video translations, fans take on video timing, video editing and design tasks. Letters from idols to fans, Wattpad fan fictions, interviews, music videos, live streams of idols, Tweets from other English speaking fans are translating to Turkish by fans.

The second most popular type of digital labor is the notifying other fans about platform notifications. In this type of digital labor, those Twitter fan accounts function as a single channel for all other social medias' updates and contents. Like the number of views, streams, clicks and rankings on music and music video sites such as Spotify, iTunes, Apple Music and Youtube are regularly shared from these fan accounts. They also follow and share content about their idols on Instagram, Twitter and V-live platforms. At this point, they provide a kind of media monitoring service to other fans in digital space free of charge. This type of digital labor also requires a capital and usage knowledge of technological equipment.

The third most performed type of digital labor was determined as news. The album sales of K-pop bands, the ranking of the songs in the lists they entered in various countries, the daily lives of the idols and their advertising collaborations with some trademarks were evaluated under this digital labor theme. Fan accounts thus maintain the popularity of idols by keeping fans' interactions with their idols up-to-date, and this popularity also provides an economic income, especially for K-pop bands and their companies, such as advertising deals. However, sometimes these Tweets may not contain a direct and explicit advertisement, but brand visibility can be achieved through idols. Sometimes, instead of such official collaborations, the products that idols use in daily life are shared by fan accounts without information that they are an advertisement, and these products are indirectly advertised to fans through idols. As the Tweets collected under this digital labor theme show, fan accounts can contribute to the building and actuality of the idol-fan relationship with their digital effort, as well as advertise brands and products directly or indirectly for free.

Actions for the algorithm, which is the least intense type of digital labor, are suggestions to increase views and listening on video and music platforms, the tags to be used in Tweets for idols to enter the Top Tweets list and the information of when these tags will be used, digital voting for idols on some platforms and voting guides have been evaluated.

Kaynakça

  • Abd-Rahim, A. (2019). Online fandom: social identity and social hierarchy of Hallyu fans. Journal for Undergraduate Ethnography, 9(1), 65-81. doi:https://doi.org/10.15273/jue.v9i1.8885
  • Annett, S. (2014). Anime Fan Communities: Transcultural Flows and Frictions. New York: Palgrave Macmillan.
  • Avşar, Z. (2004). Medyada Yoğunlaşma ve Şeffaflaşma: Yasal Düzenlemeler, Beklentiler, Sorun Alanları. İletişim Araştırmaları, 2(2), 87-112.
  • Binark, F. M. (2018, Nisan). K-Pop Fenomeni: BTS’nin ve EXO’nun dayanılmaz çekiciliğinin ekonomi politiği. Varlık Dergisi, 42-49.
  • Binark, M., & Keskin, A. (2021). Türkiye’de K-pop Karşıtı Söylem Ve K-pop Hayranlarının Taktiksel Mücadelesi. Moment Dergi, 8(1), 144-167. doi:https://doi.org/10.17572/mj2021.1.144167
  • Bok-rae, K. (2015). Past, present and future of Hallyu (Korean Wave). American International Journal of Contemporary Research, 5(5), 154-160.
  • Cote, M., & Pybus, J. (2014). Maddi Olmayan Emek 2.0’ı Öğrenme: Facebook ve Sosyal Ağlar. M. A. Peters, & E. Bulut (Dü) içinde, Bilişsel Kapitalizm Eğitim ve Dijital Emek (D. Öz, Çev., s. 241-270). Ankara: NotaBene Yayınları.
  • Digital 2021: Turkey. (2021). Aralık 19, 2021 tarihinde Datareportal: https://datareportal.com/reports/digital-2021-turkey adresinden alındı Duffett, M. (2003). Understanding Fandom: An introduction to the study of media fan culture. New York: Bloomsbury Publishing.
  • Fırat, D. (2017). Küresel yönde ters akış: Asya’dan doğan alternatif bir popüler kültür. Abant Kültürel Araştırmalar Dergis, 2(3), 67-74.
  • Fiske, J. (2001). The Cultural Economy of Fandom. L. A. Lewis (Dü.) içinde, The Adoring Auidience: Fan culture and populer media. Taylor & Francis e-Library.
  • Fuchs, C. (2013). Digital labour and Karl Marx. New York: Routledge. doi:doi:10.4324/9781315880075
  • Fuchs, C., & Sevignani, S. (2013). What is digital labour? What is digital work? What’s their difference? And why do these questions matter for understanding social media? TripleC: Communication, capitalism & critique, 11(2), 237-293.
  • Hardt, M., & Negri, A. (2003). İmparatorluk. (A. Yılmaz, Çev.) İstanbul: Ayrıntı Yayınları. Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York, London: New York University Press.
  • Kim, Y. (2021, Ağustos 5). K-pop sets another record on Twitter with 7.5 billion Tweets in a year. Blog: https://blog.twitter.com/en_us/topics/insights/2021/kpop-sets-another-record-on-twitter-with-7-billion-tweets-in-a-year adresinden alındı
  • Korean Foundation for International Cultural Exchange. (2020, Haziran 25). Global Hallyu Trends 2020. Haziran 9, 2022 tarihinde http://eng.kofice.or.kr/data/%5bKOFICE%5d%202020%20Global%20Hallyu%20Trends.pdf adresinden alındı
  • Kozinets, R. (2015). Netnography Redefined. Londra: Sage Publications.
  • Kozinets, R., Dolbec, P.-Y., & Earley, A. (2014). Netnographic analysis: Understanding culture through social media data. U. Flick (Dü.) içinde, The Sage Handbook of Qualitative Data Analysis (s. 262-276). Londra: Sage Publications.
  • Lazzarato, M. (2006). İmmaterial Labor. P. Virno, & M. Hardt (Dü) içinde, Radical thought in Italy: A potential politics (s. 133-147). Minneapolis: University of Minnesota Press.
  • Morimoto, L. (2018). Ontological Security and the Politics of Transcultural. P. Booth (Dü.) içinde, A companion to media fandom and fan studies (s. 342-364). John Wiley & Sons.
  • Oh, C.-J., & Chae, Y.-G. (2013). Constructing Culturally Proximate Spaces through Social Network Services: The Case of "Hallyu" (Korean Wave) in Turkey. Uluslararası İlişkiler/International Relations, 10(38), 77-99.
  • Parc, J. (2022). Measuring the Impact of Hallyu on Korea's Economy: Setting Off on the Wrong Foot. Korea's Economy, 32, 27-35. https://keia.org/wp-content/uploads/2021/10/KEI_Koreas-Economy_2021_211019_Parc_2.pdf adresinden alındı
  • Pesek, W. (2019). BTS Can’t Save South Korea, Though Its $4.7 Billion GDP Boost Sounds Good. Forbes. Haziran 9, 2022 tarihinde https://www.forbes.com/sites/williampesek/2019/10/10/bts-cant-save-south-korea-though-its-47-billion-gdp-boost-sounds-good/?sh=47cda4442412 adresinden alındı
  • Reed, C. (2022, Ocak 6). The Most Popular K-pop Groups Of 2021. Haziran 10, 2022 tarihinde Ranker: https://www.ranker.com/list/best-kpop-groups-2021/music-lover adresinden alındı
  • Terranova, T. (2015). Bedava Emek: Dijital Ekonomide Kültür Üretimi. Folklor/Edebiyat, 21(83), 343-363.
  • Yıldırım, A., & Şimşek, H. (2018). Sosyal Bilimlerden Nitel Araştırma Yöntemleri. Ankara: Seçkin Yayıncılık.
Toplam 25 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular İletişim ve Medya Çalışmaları
Bölüm Araştırma Makaleleri
Yazarlar

Hasan Ozan Atikaslan 0000-0003-1787-1227

Yayımlanma Tarihi 31 Aralık 2022
Gönderilme Tarihi 22 Ağustos 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 9 Sayı: 17

Kaynak Göster

APA Atikaslan, H. O. (2022). Türkiye’de K-Pop Hayranlığı ve Dijital Emek: Twitter Hayran Hesapları. Intermedia International E-Journal, 9(17), 212-234. https://doi.org/10.56133/intermedia.1162180

Creative Commons Lisansı Intermedia International E-journal

Bu eser Creative Commons Alıntı-GayriTicari-Türetilemez 4.0 Uluslararası Lisansı ile lisanslanmıştır.