Search results

This paper was written to aid academic libraries that may be considering adding collections of popular culture items to their collections. The Multimedia Center at the University of Rochester's River Campus Libraries partnered with students to establish a popular DVD collection in 2001. Changes in acquisitions, cataloging, processing, shelving, and access were required. A review of the current literature helps make a compelling story for why these items add value to the libraries' collections and how they contribute to the educational mission of the university.

Changes that were made to provide improved access to a high circulation collection are discussed. Current literature on popular culture collections in academic libraries, media literacy, and the unique creation of knowledge by the current generation of college students is used to provide a basis for supporting these incongruous collections.

The generation of students who have grown up with the internet use media for the creation of knowledge. The distinction between scholarly material and popular material may be a library construct and inhibit the creation of new texts.

Academic libraries that are attempting to establish collections of popular culture items such as DVDs can examine the solutions that the Multimedia Center staff used to overcome barriers to access and circulation, including the philosophical barrier imposed by an institutional bias against popular culture items.

This paper is unique in that it not only examines the technical details needed to successfully integrate a high‐circulation, easily browsed DVD collection into an academic library setting, it also examines the reasons why these collections are essential to the educational mission of the modern university.

This chapter focuses on the importance of social media for pop culture fans. A web survey for fans of the Twilight Saga is implemented, using the concepts of cognitive, affective, and evaluative social identity and personal, product, and situational involvement. The purpose is to examine to what degree social identity and involvement can explain pop culture fans’ future intention to travel, make recommendations to others, and use social media. Findings show that pop culture fans use social media to a large extent and that these means are important for making decisions about traveling and event participation. Moreover, the chapter shows that involvement dimensions are more important than social identity dimensions to explain future intention to travel, to recommend to others, and to use social media.

In light of the place of popular fiction in world cultural history and in the context of the broader debate of “high culture versus popular culture”, this article addresses the importance of popular fiction in the academic library. The article compares the attitude of Israeli academic libraries towards popular fiction to the attitude of parallel American university and research libraries. A survey of a sample of academic curriculi and libraries in Israel suggests no established policy related to collection development and the acquisition of popular fiction. While leading American academic institutions adopt such policy, no such trends are evident in Israeli institutions. According to the polysystem theory of literature, popular fiction should have a status of its own as one of various systems within a structured whole. As such, it is a legitimate subject of literary research. Popular fiction as an interdisciplinary subject may interest researchers from different fields of study in the humanities and the social sciences. The need to establish a collection development and acquisition policy for popular fiction in order to facilitate systematic and continuous research in this field is thus indicated. This endeavour should be coordinated both regionally and nationally.

The purpose of this paper is to discuss the relevance of popular culture in a tourism context, highlighting how it can impact the future of tourism.

Drawing upon existing research, the popularity of popular culture is discussed, and future developments are transferred to the field of tourism.

It is expected that the demand for popular culture related tourism activities and experiences will continue to increase, providing opportunities for destinations for visitor dispersal, the distribution of economic benefits across regions, and the tackling of industry-based challenges.

The paper draws attention to the potential of popular culture in positive and tourism development that reduces negative impacts.

The purpose of this paper is to unpack an Asian-born celebrity culture in which celebrities become everyday necessities for global consumers’ identity struggle, prototypes for global branding strategy, contents for the media industry, and agents for sociocultural transformation.

In order to better elucidate such a significant phenomenon, the authors also introduce two mostly palpable and more relevant domains of celebrity culture to global consumer culture literature − politics of aesthetics and memetics − as analytical tools. Observations and publicly available narratives are also incorporated to enhance the review and critique of the global celebrification process. Psy’s Gangnam Style (GS) is chosen as an archetype, due to its exceptionally vulgar but highly replicable nature.

The specific case of GS exposes three unique qualities of kitsch − exaggeration, disconcertment, and subversive sensibility − that are substantially commensurate with prototypical characteristics of globalized online memes − ordinariness, flawed masculinity, theatricality, and ludic agency. Polysemy and optimism also facilitate the celebrification process in global participatory culture.

The “radical intertextuality” of online memes sustains the participatory culture in which kitsch becomes a global icon through a reproductive process. Korean popular culture cultivates reverse cosmopolitanism through a nationalistic self-orientalization strategy that paradoxically indigenizes western pop-culture and transforms power relations in global pop culture.

This paper presents further elaboration of current discourses on global-celebrity culture by incorporating popular concepts and practices, such as kitsch, meme, parody, and sharing, which synergistically advance aesthetic liberation on a global scale.

In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.

This study adopts the popular culture lens to investigate the collective understanding behind the human resources (HR) occupations.

The empirical study analyzes 129 characters from 87 movies, television (TV) series, books and comics. The measurement model was tested using structural equation modeling and cluster analysis identified five HR representations in the popular culture.

Popular culture reflects five HR representations: The Executor, the Hero, the Buddy, the Bore, and the Good-time person. Results suggest that public opinion pays scarce attention to the so-called HR “strategic position” while underlining the need for a more socially responsible HR approach.

The authors' study serves as a means for integrating past research on HR role and reputation, occupational image, self-identity and popular media. While most scholars have addressed popular culture as a single case and paid almost no attention to the HR domain, this article complements the literature by offering a fruitful way to distil HR summative popular culture representations, thus advocating for both a theoretical and a methodological contribution.

In this paper I bring together interaction, media, deviance, self, and identity to make sense of how young Singaporeans consume Korean popular (hereafter, K-pop) music and culture. My overarching goal is to highlight that being a music fan is not a straightforward or even easy experience. Rather, the self as music fan is continually developing within a complex variety of social processes, from the circulation of global, mass media representations to inter- and intra-personal interactions. I present data collected from a study on K-pop music consumption in Singapore, a small island-nation in Southeast Asia with an insatiable thirst for foreign culture. The data show how a group of Singaporean K-pop fans were regularly bombarded with largely negative messages about what it means to be K-pop music fans, and how these meanings affected their own negotiations as fans. K-pop fandom provided a sense of shared identity and status within popular youth culture, yet their experiences were often soured by negative media portrayals of deviant fans, whose behaviors risked stigmatizing the K-pop social identity. This paper thus deals with some of the problems for self that being a music fans entails.

This paper explores how consumers use the media products of mass culture to co-create the meanings of popular culture. Specifically, we examine both why and how Harry Potter fans utilize the primary texts written by J. K. Rowling to co-create their own fan fiction. Towards this end, we utilize Kenneth Burke's dramatistic method to explore the pattern of literary elements in both the original texts and the fan fiction. We argue that the primary impetus for consumers to engage in the co-creation of these texts is found in their ability to emphasize different ratios of literary elements in order to express their individual and collective desires. Through this process, fans utilize and contribute to the meta-textual meaning surrounding these primary focal texts and propel the original products of mass culture to the cultural texts of popular culture.