@incollection{cicchelli_is_2021,
	address = {Cham},
	title = {Is {Entertainment} {Capitalism} the {Ultimate} {Stage} of {Aesthetic} {Capitalism}?},
	isbn = {978-3-030-84296-3},
	url = {https://doi.org/10.1007/978-3-030-84296-3_2},
	abstract = {The Korean Wave presents a unique production model that borrows from global capitalism and builds upon close collaboration between the State and the private enterprise. This model has recentered economic focus on exports. Entertainment capitalism burst onto the global scene in the 2010s. It promotes the horizontal integration of various products and has an important degree of serialization, the rise of the transmedia Idol, and the transformation of the relationship between artists/entertainers and their audiences. A great degree of closeness is fostered between Idols and their fans, in particular via extensive online activity. Entertainment capitalism promotes an ideology of well-being inspired by neoliberalism, of which is also the fruit, relying on the authenticity of the emotions elicited in consumers by the products they consume.},
	language = {en},
	urldate = {2021-10-26},
	booktitle = {The {Sociology} of {Hallyu} {Pop} {Culture}: {Surfing} the {Korean} {Wave}},
	publisher = {Springer International Publishing},
	author = {Cicchelli, Vincenzo and Octobre, Sylvie},
	editor = {Cicchelli, Vincenzo and Octobre, Sylvie},
	year = {2021},
	doi = {10.1007/978-3-030-84296-3_2},
	pages = {37--73},
}

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