TVING’s authentic documentary “K-pop Generation” identified the present standing of K-pop, which has grow to be Korea’s consultant icon.
The manufacturing staff of “K-pop Generation” sheds mild on varied points of K-pop in every episode. In episode 1, they targeted on the so-called fan tradition. In episode 2, they delivered tales of assorted creators reminiscent of artists and producers who make K-pop. In this course of, it’s noteworthy that Mamamoo Hwasa outlined K-pop as a “beautiful hybrid created by countless people”.
“When it comes to K-pop, there are prejudices such as ‘Everyone is the same’ and ‘It’s too much’. (K-pop makers) deserve more respect.” (PD Kim Sun Young)
Executive producer Lim Hong Jae didn’t view Kpop merely as music. Instead, he analyzed Kpop as a tradition that encompasses music, style, and meals. “Kpop is a huge house, and there are many open doors. There are various paths to approach and accept not only music, but also dramas, food, fashion, music videos, performances, and other huge cultural fields. It’s not a matter of whether the Kpop heat will cool down if the artist succeeds and disappears”, he mentioned.
Cultural experiences differ from era to era. Jung Hyung Jin, basic planning producer and CEO of Patchworks, predicted that Kpop is rising as mainstream music within the present era.
“If fans of old-generation idols are like consumers in the music industry, fans nowadays are not only spending money on what they like but also creating. That’s the industrial part. Fandoms created the word ‘deokjil (to become a fan)’. As a result, both the artists and fans have grown. I think their existences are like those who help each other grow.” (CEO Jung Hyung Jin)
“Fans of idols in the current generation have a sense of ownership. Entertainment agencies are accepting many opinions from fans. Without fans, there wouldn’t be such a beautiful combination in the K-pop scene right now.” (PD Lee Ye Ji)
K-pop, which has gained cultural influences in some ways, remains to be increasing all over the world. This is why “K-pop Generation” paid particularly consideration to the reactions of abroad music followers. Pop music critic Cha Woo Jin, mentioned, “K-pop originated in Korea, but while making documentaries about K-pop, I realized that it’s not important whether it is from Korea or anywhere”, including “Isn’t this the era of diversity? I wonder if it’s a phenomenon that shows K-pop more dynamically.”
“Many K-pop groups are multinational and K-pop is also consumed by lots of foreign fans. Even during the production stage, it’s not that few music producers mix various genres to make songs, but songs are created by teams of multinational producers. They also collaborate with creators from many different countries. I was impressed to see that K-pop is becoming a focal point for not only artists but also creators to unite.” (Critic Cha Woo Jin)
How Kpop tradition is consumed and produced within the international popular culture is turning into a reference for varied nations. For occasion, the “birthday cafe culture”, which was created in Korea, is now being carried out abroad as properly, and items and merchandise exchanges can now be seen in entrance of any buying and selling market or live performance corridor.
“We will also show how Kpop influences the mainstream culture by doing things that the mainstream culture has overlooked, and not just as a cultural product of our country. Rather, it’s a step in global culture. We named it ‘Kpop Generation’ because we saw Kpop as a generational phenomenon”, mentioned critic Cha Woo Jin.