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PRACTICES OF THE GLOBAL HALLYU FANDOM AS A "POST-CREATOR".

This study reconceptualizes global Hallyu fandom as a form of """Post-Creator""", where fans operate as cultural agents who reorganize affective structures and ethical codes within the algorithmic and economic conditions of platform capitalism. Drawing on Nicolas Bourriaud's concept of postproductio...

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Published in:Kritika Kultura no. 49; pp. 217 - 240
Main Authors: Baek, Taehyun, Joo, Jiyoung
Format: Article
Published: Kritika Kultura Mar2026
Subjects:
Capitalism
Cultural identity
Videos
Online Access:View this record in EBSCOhost
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      dt: Mar2026
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        atl: PRACTICES OF THE GLOBAL HALLYU FANDOM AS A "POST-CREATOR".
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        au:
          Baek, Taehyun
          Joo, Jiyoung
        affil:
          Kyung Hee University
          Hansung University
      su:
        Capitalism
        Cultural identity
        Videos
      sug:
        subj:
          Capitalism
          Cultural identity
          Videos
      keyword:
        affective labor
        cultural circulation
        hallyu fandom
        platform capitalism
        post-creator
        remix culture
      ab: This study reconceptualizes global Hallyu fandom as a form of """Post-Creator""", where fans operate as cultural agents who reorganize affective structures and ethical codes within the algorithmic and economic conditions of platform capitalism. Drawing on Nicolas Bourriaud's concept of postproduction and Kang Sumi's formulation of the post-creator, this study positions fan practices as participatory or remixed acts while at the same time highlighting their role as politically and aesthetically significant interventions that reshape the meaning and circulation of cultural texts. Methodologically, this study conducts a comparative analysis of digital fan activities, including stage mixes, fan-subtitled translations, reaction videos, and performancebased challenges across platforms such as YouTube, TikTok, and X. Particular attention is paid to how localized practices in regions such as Southeast Asia and Latin America reflect distinct ethical and affective logics. The study further argues that these fan interventions represent strategic responses to the platform infrastructure, rather than isolated creative gestures, and that they embody a new mode of cultural authorship in the digital age. In doing so, it contributes to broader discussions on affective labor, platform governance, and the reconfiguration of cultural authority in transnational fandoms.
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    language: English
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      custom: Copyright of Kritika Kultura is the property of Kritika Kultura and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use.
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