CFP: Transmedia Storytelling in K-Pop

The editors are 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 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.