Tabitha Adler
{"remix_data":[],"remix_entry_point":"challenges","source_tags":["local"],"origin":"unknown","total_draw_time":0,"total_draw_actions":0,"layers_used":0,"brushes_used":0,"photos_added":0,"total_editor_actions":{},"tools_used":{"beautify":1},"is_sticker":false,"edited_since_last_sticker_save":true,"containsFTESticker":false}
Tabitha Adler, M.A.
Goethe University Frankfurt
Tabitha Adler is an academic assistant in the current CEDITRAA Project at Goethe University Frankfurt.
She holds a M.A. degree in Media and Cultural Research and a polyvalent dual-major B.A. degree in English and political science from Albert-Ludwigs-University Freiburg. Her main focus during her late studies was laid on K-Pop, gender, social media, and fandom. She finalized this in her master’s thesis, where she discussed K-Pop as a product of cultural hybridity between global and regional influence, as well as political and societal expectations.
My CEDITRAA story
“Coming from a background of cultural studies, political science and media studies, this project gives me the opportunity to combine various aspects of my academic interest. In the last years K-pop has become a focus in my studies because it combines pop culture, Korean domestic policies, societal issues, and the use of social media to gather an audience and nourish fan loyalties. The Korean idol industry continuously develops further strategies to make use of new digital innovations and infrastructures, with the focus on YouTube being their first step towards a social media-oriented genre. Today we see trends like AI-Idols and songs that are produced for TikTok-challenges, while K-pop fandoms are a driving force for the popularity of K-pop worldwide. The latter is achieved through online networking, fan voting systems and streaming, where both fans and the idol industry target algorithms and website specific structures to reach a large audience. CEDITRAA gives me an opportunity to further investigate how the idol industry and fandoms make use of these structures and how different interest groups affect the cultural products of K-pop.”
