In Ono and Kwon’s chapter about transnational Korean culture, the authors were interested in the compatible relationship between YouTube and K-pop. In addition, “YouTube as a K-pop interlocutor” investigated the features of YouTube which enabled K-pop to become an international phenomenon (2013, 200). The existence of YouTube substantially accelerated Psy’s journey to global stardom in K-pop, the aspects of “visual and minimal limitations” were significant to his fame.
K-pop industries started using YouTube as a cultural advertisement was because of the application’s ability to archive music videos and its reinforcement of visuality (2013, 2008). Psy was able to use his iconic choreography and became an emphasis on visual entertainment in all of his music videos. As a result, he became recognizable due to his dance moves and demonstrated that “visual impression plays a significant role in the consumption of K-pop” (Oh, 2012).
YouTube has a minimal limitation in terms of marketing K-pop, it provided a platform where producers are able to upload unwanted clips from traditional media and global fans have lesser barriers to consuming music videos (Ono & Kwon 2013, 209). In his latest attempt to eliminate the language barrier among fans, “LOVE” (Featuring. TAEYANG) had English subtitles for the entire song and there were phrases in multiple languages surrounding the theme of uniting. Global fans would have the opportunity to learn more about the artist/idol with the access of social networking sites (SNSs), more specifically with YouTube in terms of Psy.
Hallyu 2.0 or the new Korean wave has attracted many followers beyond South East Asia and this was achievable with the assistance of the internet. Without the exposure of YouTube and his iconic choreography, fans would never learn the real identity of Psy at a global scale.
Reference
Officialpsy. “LOVE (feat.TAEYANG).” YouTube. July 16, 2017. Accessed December 07, 2018. https://www.youtube.com/watch?v=K5ve5lzs0wM.
Oh, S. ”Attractiveness Factors in K-Pop: Focused on American Consumer of K-Pop in U.S.A.”Journal of KSSSS (Jookwanseong Yeongu), 24: 205-214
Ono, Kent. A and Jungmin Kwon. “YouTube as a K-pop interlocutor” Edited by Youna Kim The Korean wave: Korean Media Go Global (New York: Routledge, 2013)