Transcultural Media and Fandom
Who co-wrote “Wheels on the Ground, Worlds in Motion”? and Who are they?
Henry Jenkins (a distinguished professor at Annergerg)
and Kedi Zhou (a PhD candidate at Annenberg School for Communication and Journalism)
In Jenkins and Zhou’s article, what journey metaphor represents transcultural collaboration?
A shared bus ride
What term do Jenkins and Zhou use to describe fandom that crosses national and cultural borders?
Transcultural fandom
What media platform’s shutdown inspired Jenkins’s 2023 trip to Shanghai?
Archive of Our Own (AO3)
What emotional effect do South Korean dramas have on North Korean viewers?
They evoke desire, fantasy, and disillusionment
What is the primary research method that Suk-Young Kim used?
conducted interviews with North Korean defectors about illicit media viewing
What setting in North Korea serves as the hidden platform for South Korean drama viewing?
Secret home networks using DVDs, flash drives, smartphones as players
What concept contrasts with “pop cosmopolitanism” as seen in nationalist online fan behavior?
Fan nationalism
In North Korea, what everyday object helped people secretly watch foreign dramas?
Solar-powered mini TVs, USB flash drives, cellphones
How do Jenkins and Zhou describe the outcome of transcultural collaboration among students?
Shared laughter, confusion, empathy, and co-created knowledge
What does Kedi Zhou mean by “embodied politics” through Random Play Dance?
"K-pop fandom is thus reframed as a site of embodied politics where fleeting performances can carry lasting impacts across cultural and geographic borders" (p.15)
In “Wheels on the Ground,” where do the USC scholars visit to explore fandom spaces?
Hong Kong and Shanghai
According to Kim, why are South Korean dramas seen as “realer than real” in North Korea?
They reflect the state’s tradition of valuing performed truths over lived reality
How does Kim describe technology’s paradoxical role in North Korea?
It both enables and constrains freedom through surveillance and connection
What does Kim suggest about the symbolic “value of money” in Autumn in My Heart?
It mirrors North Koreans’ growing awareness of capitalist exchange
Which South Korean drama features the tragic romance between Eun-seo and Jun-seo?
Autumn in My Heart
Which three elements does Lori Morimoto associate with transcultural fandom?
access, affect, and affinity
Which South Korean dramas introduced North Koreans to the fantasy of cell phone freedom? (name at least 3)
Autumn in My Heart, Stairway to Heaven, Boys Over Flowers, My Love from Another Star
What shared insight do both texts offer about media circulation?
Media mobility reveals both the power of connection and the politics of control in East Asian contexts
What metaphorical meaning does the “bus” hold in Jenkins and Zhou’s essay?
A symbol of cross-cultural exchange, mobility, and collaboration in transcultural fandom research. "bus becomes a microcosm of what it means to explore new cultural terrain: a noisy space that speeds us forward while we become, for a moment, a collective traveling along the same route, navigating cultural codes and emotional changes." (p.3)
What concept from Ian Condry emphasizes researching fandom “on the ground”?
Genba (the site where cultural production occurs) 現場
How does Jenkins and Zhou’s “bus” parallel digital infrastructures like Zoom or AO3?
Both connect dispersed communities across distances to foster transcultural collaboration
How do Jenkins and Zhou connect fandom to feminist and queer politics?
By examining fan performances, cosplay, and K-pop dance as sites of resistance and embodiment