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More than a pretty piece of paper: photocard collecting as a means to make sense of the K-pop fan experience

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More than a pretty piece of paper: photocard collecting as a means to make sense of the K-pop fan experience

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Content MORE THAN A PRETTY PIECE OF PAPER:
PHOTOCARD COLLECTING AS A MEANS TO MAKE SENSE
OF THE K-POP FAN EXPERIENCE
by
Hien Thai Nguyen
A Thesis Presented to the
FACULTY OF THE USC ANNENBERG SCHOOL FOR
COMMUNICATION AND JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM)
May 2024
Copyright 2024 Hien Thai Nguyen

Acknowledgments
I would like to begin by thanking my family who have unconditionally supported me all
the way from Vietnam as I pursue a higher education in the United States. Without their constant
encouragement and love, this journey would not have been possible. I am eternally thankful, cảm
ơn bố mẹ và gia đình.
My gratitude also goes out to my thesis committee, Henry Jenkins, Oscar Garza and Hye
Jin Lee, for their invaluable guidance throughout this process. Their thoughtful feedback and
willingness to review my drafts not only improved the quality of my work but also inspired me
to dig deeper into my topic. Thank you to my coding coaches, Vanessa Gaie and Keith Plocek,
for their patience and expertise in helping me with my multimedia project and ensuring the
website was launched smoothly. A special appreciation to Professor Jenkins’ fandom studies
class in the Fall of 2023 for sparking my interest in fandom culture and being the catalyst for my
thesis topic choice.
Additionally, I want to thank my K-pop friends and fellow fans who passionately
cheered me on throughout my master’s program. This thesis on K-pop photocard collecting
would not have been achieved without the joy and excitement I experienced from being part of
this community. Thank you to all the fans I talked to for this project for generously sharing their
photocard collections and discussing the fandom practice of collecting with such enthusiasm.
Lastly, a heartfelt thank you to the K-pop group Seventeen, whose music has been an
indispensable part of my youth and has accompanied me throughout the years. I am grateful for
the joy, connections and memories your music has brought.
ii

Table of contents
Acknowledgments………………………………………………….…………………………….ii
Table of contents………………………………………………………………………………...iii
List of Figures…………………………………………………..……………………………….iv
Abstract…………………………………………………..………………………………………v
Chapter 1: The Phenomenon...……………………………………..…………………………….1
Chapter 2: The Devotees………………………………………..……………………………..…6
Chapter 3: The Fascination………………………………………..………………………...….10
Chapter 4: The Selfhood…………………………………………..……………………………16
Chapter 5: The Community………………………………………..…………………………...25
Chapter 6: The Impact……………………………………………….…………………………29
Bibliography……………………………………………….…………………………………...31
iii

List of Figures
Figure 1.1 Landing Page Looped Video………………………………………………….……….1
Figure 1.2 Girls’ Generations Album “The Boys”………………………………………………..3
Figure 1.3 IFPI’s 2023 Top 10 Global Album Sales Chart……………………………………….4
Figure 2.1-2.4 K-pop Album Stores………………………………………………….…………...7
Figure 3.1 NCT Ten’s Photocard………………………………………………….……………..10
Figure 3.2 Red Velvet Album Packaging………………………………………………….…….12
Figure 3.3-3.6 Brand Collaboration Photocards………………………………………………....15
Figure 4.1 Twice Photocard Template…………………………………………………….……..17
Figure 4.2 ATEEZ’s Mingi Photocard Template………………………………………………...18
Figure 4.3 Video - K-pop Concert Exclusive Photocards………………………………………..20
Figure 4.4 Shin Yu’s Glasses Photocard Collection……………………………………………...21
Figure 4.5-4.12 Interactive Click-through Photo Gallery………………………………………..22
Figure 4.13 Food and Drinks Themed Photocard Holders………………………………………23
Figure 5.1 Video- The Costs of Photocard Collecting…………………………………….……..26
Figure 5.2 Video - Fan Identity Through Displaying Photocards……………………….……….27
Figure 5.3 Collage of Photocards as a Social Activity…………………………………………..28
Figure 6.1 Footer image - Photocard Table Display……………………………………………..30
iv

Abstract
In today's digital music landscape, streaming services dominate while physical media
experience a decline in popularity. However, amidst this trend, K-pop albums stand out with a
remarkable surge in physical sales, defying the trends of the broader music industry.
Drawing on data from music industry organizations such as the International Federation
of the Phonographic Industry and from surveys and interviews with K-pop fans, this multimedia
project delves into the dual appeal of buying K-pop albums and the popular fandom practice of
photocard collecting as an explanation for sustained physical media demands. Central to this
argument are K-pop fans’ sentiments about their fan identity through collecting photocards and
the excitement of obtaining randomized photocards through opening albums.
This project which contains text, photos, videos and interactive elements aims to
highlight the multifaceted motivations driving the resurgence of physical media consumption
within K-pop fandoms. Elucidating the complex interplay between fan devotion, album
merchandising strategies and identity construction, it contributes to a deeper understanding of the
evolving landscape of music consumption in the digital age from a fan-consumer lens.
View the website here:
https://html-preview.github.io/?url=https://github.com/hienuscthesis/HienNguyenUSCMastersTh
esis2024/blob/main/index.html
v

Chapter 1: The Phenomenon
Figure 1.1 Landing Page Looped Video
1

The first K-pop album I physically held was Girls’ Generation’s 2011 album, “The
Boys.” My friend brought her copy to class just a week after its official release and showed it to
me, a starry-eyed fifth grader who had just become acquainted with the South Korean music
scene. K-pop became popular in Vietnam in the early 2010s not only for its catchy melodies and
captivating choreographies but it also transcended being just a music genre. Its striking aesthetics
have become part of a larger cultural phenomenon, influencing a generation of Vietnamese youth
including myself. “The Boys” was unlike any CD I’d ever seen — the package wasn’t the typical
clear, uniform jewel case normally seen on the shelves at music stores. The most extras I’d ever
seen in an album before, in addition to the compact disc itself, was a booklet insert with several
lyric pages encased within a square acrylic frame. Instead, this Girls’ Generation album was a
pink box reminiscent of an empty cookie tin my grandma used to store her threads and needles.
The disc was nestled in a soft foam cutout inside the tin box, and underneath was a thick
fairytale-themed photobook filled with high-quality images, a stack of postcard-sized pictures,
and a photocard of one of the nine group members inserted randomly. This combination of
visually enticing packaging and the thrill of getting an element of surprise, in most cases a
randomized photocard, makes buying a K-pop album more than just for the music.
2

Figure 1.2 Girls’ Generations Album “The Boys”
Fast forward to the present day, K-pop continues to rise in popularity worldwide as seen
by its growing presence on the music charts. For years now, CDs have been a dying trend within
the music industry. The main reason is that streaming allows people to listen to a wider catalog
of songs and is cheaper than investing in a physical copy.
The global decline in CD sales over the years can be attributed to the dominance of
streaming culture. According to the Recording Industry Association of America’s 2023 mid-year
music revenue report, physical media only represented about 11% of recorded revenue in the
United States, while streaming dominated with 84%. However, the phenomenon seems to differ
for K-pop albums, where substantial physical sales are on the rise. In 2023, more than 115
million albums were sold in South Korea, a figure that almost doubled from the previous year.
3

That same year, five out of 10 albums on the International Federation of the Phonographic
Industry’s Global Top 10 Album Chart were from K-pop artists, with the first and second spots
going to SEVENTEEN and Stray Kids for their respective albums, “FML” and “5-Star.” In
IFPI’s 2023 Global Album Sales Chart, only one album in the top 20 wasn’t by a K-pop act, and
that was Taylor Swift’s “1989 (Taylor’s Version)” which reportedly sold 2.8 million units
globally, ranking sixth overall.
Figure 1.3 IFPI’s 2023 Top 10 Global Album Sales Chart
4

“The South Korean physical market has grown significantly this year following 2022,
with album sales increasing 49% year-on-year.” — Kim Jin-woo, Senior Research Fellow at
Circle Chart.
The answer for this constant physical media increase, even in a digitally reliant music
market? A dedicated fanbase.
5

Chapter 2: The Devotees
What K-pop and Taylor Swift’s fandoms have in common is a shared dedication that
directly affects their favorite artist’s success. The cult following for both Swift and many K-pop
groups, notably boy groups, is reflected in the massive sales figures due to the distribution of
different merchandise. Within the K-pop scene, the fierce competition between fandoms of
different groups to break records and establish a top presence for their idols on music charts
drives them to purchase CDs. Fans often band together to bulk purchase the recordings upon
release by hosting organized group orders or by some individuals buying multiple copies to boost
sales. While the competitive nature coupled with the loyalty of K-pop audiences might be why
fans still purchase CDs in the streaming age, the explanation for their exponential sales is
attributed to the 5.5 x 8.5-centimeter credit card-sized photos that come with these CDs, known
as “photocards.” The catch — you won’t know which photocard you will get when buying a CD.
These small, collectible prints are distributed randomly in the album package, typically featuring
a selfie photo of a member of that K-pop group. The excitement of these so-called photocard
“pulls” is often referred to as the best part of buying a K-pop album. A survey for this thesis
targeting K-pop fans was done through Google Forms in a multiple-choice and long-answer
format that received 375 responses. The survey aimed to collect demographic information of
respondents and understand the factors that drive fans to purchase physical albums, particularly
focusing on the role of collectibles like photocards. Of the 375 participants, a significant 91%
indicated that photocards and other randomized photo inclusions have influenced their decision
to purchase physical media. This finding suggests that merchandise and collectible items have a
strong appeal among K-pop fans. The survey also delved into fans' views on collecting
photocards, exploring their personal reasons for engaging in this aspect of fandom culture.
6

Questions include whether fans own any photocards with sentimental value, their thoughts on
how photocards contribute to marketing in K-pop and the role of these collectibles in fostering a
sense of community with others.
Figure 2.1-2.4 K-pop Album Stores
7

Memorabilia has always played an important role in shaping fandom as it involves the
tangible aspect of fan culture. Fans acquire collectibles and merchandise associated with their
favorite franchises or people, allowing them to deepen the meaning of their experience. The
commodification of the fan experience capitalizes on the emotional connections between fans
and their favorite artists, turning cultural phenomena into merchandise. This can include action
figures, posters and trading cards to name a few. The practice is integral to participatory culture
as fans actively engage with the content they love. Collecting trading cards has been a
long-standing hobby that predates the digital era and has roots in sports cards. The Allegheny
Card Company's creation, “The Baseball Card Game,” was designed to replicate a baseball
game. It is recognized as the first trading card game by the Guinness Book of Records. In John
Bloom’s “A House of Cards: Baseball Card Collecting and Popular Culture” (1997), he detailed
the hobby of baseball card collecting and its start in the mid-to-late 19th Century. Baseball cards
were originally produced as part of giveaways included with product such as tobacco as a way to
attract customers. The cards often featured illustrations or photographs of baseball players. Over
the decades, various manufacturers produced cards with different designs, formats, and themes.
What adds an element of fun is the unpredictability of whose picture you will find. The hobby
became more organized in the 20th Century, with the establishment of companies such as Topps,
which played a significant role in shaping the modern baseball card market. In addition to
baseball, Topps expanded into other sports including hockey and basketball, and also ventured
into entertainment trading cards. The company’s most notable artist collaboration was with The
Beatles during the height of Beatlemania in the 1960s. The band was among the first musicians
to capitalize on different forms of merchandise, and these cards, featuring photos of the
8

members, were often included as inserts in packages of Topps chewing gum or sold separately in
packs.
From a business standpoint, trading cards can foster long-term consumer engagement and
loyalty. The concept of randomized trading card packs encourages repeat purchases from fans,
and especially collectors, through the pursuit of getting the desired card or completing a card set.
The K-pop industry realized the commercial success of trading cards, took this model and began
including photocards in CDs in the early 2010s to provide fans with more collectible items of
their favorite artists. The history of collecting photocards within fandoms is intricately connected
to the evolution of K-pop culture as this practice became an integral part of the fan experience.
Although the K-pop fandom is not the first to engage with this practice, they are credited for the
widespread popularity of the activity in the modern music landscape. The first album to include a
photocard in K-pop history was SM Entertainment’s nine-member girl group, Girls’ Generation,
with the album “Oh!” in 2010. The company is known for being a pioneer in K-pop, not only
bringing the trading card trend to South Korea’s music industry but also the famed training
system that casts and manages idol hopefuls. The “Hallyu” wave is a phenomenon denoting the
global spread of Korean pop culture, and with K-pop groups rapidly gaining an international
fanbase, photocards also became a popular collectible for fans.
9

Chapter 3: The Fascination
Figure 3.1 NCT Ten’s Photocard
Anya Heaton bought three copies of the solo debut by the artist known as TEN. Despite
the CD exclusively featuring photocards of TEN, a member of the K-pop boy group NCT, she
had hopes of pulling a specific one showing the singer with his pet cat. It wasn’t until her third
attempt that Heaton finally got the exact card she wanted. Photocards are randomly included in
uniform album packaging so fans won’t know what they will get. If luck is on their side, they
might expect to pull a photocard of their favorite group member, also known as one’s “bias.” If
not, K-pop fans engage in “bulk-buying,” the activity of purchasing more than one copy of the
same product in hopes of getting the desired photocard. This strategy has proven to be effective
for K-pop companies to sell more copies and therefore help their artists chart higher, not only on
the South Korean charts, but also internationally. Even in albums by soloists, such as TEN,
multiple photocard versions of the singer are included at random draws. Another financial tactic
10

employed by these companies is inherent in K-pop’s production formula. By having multiple
members in one group, various versions of the same recording featuring different members on
the cover can be created to drive up sales even more. This aspect already provides K-pop groups
with a numerical advantage over solo artists such as Taylor Swift when it comes to selling
physical copies. However, with some of her more recent releases, such as “folklore” in 2020 and
“Midnights” in 2022, Swift released multiple variants of her vinyl for fans to buy and add to their
collection. These vinyl records have different cover art but all contain the same tracks.
In this digital age, fans no longer find the need to purchase CDs or albums for music
consumption. Only 15% of respondents in the K-pop fan survey reported actively listening to the
compact disc included with every K-pop purchase. Although the music can now be accessed
digitally, fans share the sentiment that digital applications, despite their convenience, fail to
provide the same satisfaction as owning a physical product. Instead, fans view CDs, and their
content, as collectible items worth displaying for their striking visual appeal. With aesthetics
playing a central role in merchandising, K-pop groups often craft their visual identities through
unique album packaging with specific concepts or themes. Each CD release, dubbed a
“comeback,” will introduce a new theme, leading to different package designs to reflect or
enhance that concept. Girl group Red Velvet’s release, “The ReVe Festival 2022 – Birthday,”
featured a version called “Cake” where the design is a cylinder-shaped package resembling a
birthday cake. The “Cake” version is available in five different colors, each representing a
member of the group.
11

Figure 3.2 Red Velvet Album Packaging
Standard K-pop albums are designed to accommodate not only the CD and photocards,
but also other inclusions such as posters, stickers and photobooks. In recent years, K-pop
companies started releasing more cost-effective versions as another part of their unique
marketing strategy. The companies began selling packages without CDs, instead including a
digital download card to reflect the shift in music consumption. The music is accessed by
scanning a QR code and a unique serial number placed inside the package. Once the QR code is
12

scanned, fans can access a variety of digital content — music, exclusive photos and even videos
from the artist. Although these CD packages differ in inclusions, the one common denominator
and driving force behind sales is the photocard. When fans buy multiple copies of the same
album, they expect the photocard inclusions to be different but are still left with excess copies of
the same album photobooks that come in identical outer packaging. Additionally, gaining
entrance to “fansigns,” an event where fans can meet their idols and have their CDs signed, is
usually based on a lottery system with one physical purchase equaling one entry. Entertainment
companies have gradually taken steps to release more eco-friendly packaging to address
concerns about waste from fans’ buying activities. A representative at YG Entertainment said the
company started using environmentally friendly paper certified by the Forest Stewardship
Council that produces less carbon. They also switched to soy ink and water-based coating so the
albums will be more biodegradable. While K-pop fandoms are often blamed for their
contribution to wasteful practices, companies should also be held accountable for the system they
created that encourages these fans to buy mass amounts of products. “Before collecting became
popular, companies would only release a few versions of each album with one or two photocards
per member but in the last couple of years, some albums have 20 plus versions because they
know people will buy them to collect the photocards,” said Canadian K-pop fan Ayva Ekins in
the collectors’ survey response. Ekins believes this change caused even more waste because
people will end up throwing out the extra albums due to a lack of storage space, or simply
because they only bought the album for the photocards.
The appeal of photocards extends beyond the marketing for albums. Its integration into
other merchandise like clothing and accessories creates a compelling incentive for fans to make a
purchase. These photocards often feature unique images, different from those in albums,
13

providing fans with a reason to seek out and collect them. The allure of owning a limited-edition
photocard can be as strong as the desire for the product itself. When K-pop idols collaborate with
brands, whether it's chain restaurants such as Wanna One partnering with Lotteria in 2018 or
beauty brands such as HERA choosing BLACKPINK’s Jennie as their ambassador in 2019, their
campaigns often feature exclusive photocards as part of the promotional bundle, adding a
significant draw for fans. Reports from early 2024 indicate that 13 centers affiliated with the
Seoul Southern Blood Center initiated a campaign offering SEVENTEEN photocards to
individuals who donated blood. The response was overwhelmingly positive, particularly among
those in their twenties and late teens, leading to an 80.6% increase in new blood donors
compared to the same period the previous year. The fact that a celebrity endorsement can
dramatically influence public health efforts further highlights the unique purchasing power of
K-pop and its fandoms.
14

Figure 3.3-3.6 Brand Collaboration Photocards
15

Chapter 4: The Selfhood
Collecting is closely tied to the construction and expression of personal identity. The
items collected represent the fan’s sense of self and are often used to communicate aspects of
their identity with fellow fans. According to Lincoln Geraghty in “Cult Collectors: Nostalgia,
Fandom and Collecting Popular Culture” (2014), the collection is given significance by its
collector. It is the investment of personal memories in building the collection that imbues the
objects with meaning. Cultural sociologist Susan Pearce identified three primary modes of
collecting: fetishistic, souvenir, and systematic.
In fetishistic collecting, collectors have a strong desire to collect for the sake of
possession and accumulate as many objects as they can. Some K-pop photocard collectors often
identify as “completionists,” characterized by the need to possess all the photocards in their
defined collection. In the photocard collecting community, dedicated fans create “photocard
templates” to keep track of the cards that come with each group’s respective release and share
them with other fans for communal use. These templates are typically categorized and sorted
according to a particular group member or CD version, both are popular collections that fans take
up. Templates are meant to be guides for fans, but some see them as goals and try to attain as
many from their chosen template as possible.
16

Figure 4.1 Twice Photocard Template
Quetzaly Sanchez describes herself as a completionist with her K-pop photocard
collection. She attributes her collecting behavior to the industry's marketing tactics that generate
excessive photocard rollouts. “Whenever a new album drops there are always preorder photocard
benefits and fansign photocards which increase the groups’ album sale count and they make
collectors like myself feel like I have to have that card or my collection will never be complete,”
17

Sanchez said in her survey response. “I think that if it weren’t for these extra exclusive
photocards with short buying periods then a lot of groups wouldn’t sell as many albums as they
do.”
Figure 4.2 ATEEZ’s Mingi Photocard Template
18

Preorder photocard benefits (POBs) were popularized during the 2020 COVID-19
pandemic as a strategy for K-pop companies to combat the sudden loss of revenue, mainly from
the pause in live touring due to lockdown restrictions. The companies distribute their products to
different online retailers and each store offers fans a different benefit, often a unique photocard
variant, as an incentive for buying from the designated site. Since the POBs differ at each store,
fans purchase the same album multiple times on different websites to collect exclusive benefits.
However, this business strategy received public criticism suggesting that entertainment
companies exploited fans’ loyalty and violated consumer protection laws. Concerns about these
marketing tactics reached the Korean Fair Trade Commission (KFTC), leading to a formal
investigation in mid-2023 into major K-pop entertainment companies including HYBE, SM, and
YG. The KFTC aimed to determine whether these companies were unfairly inflating album sales
by encouraging excessive photocard collection, not only through preorder benefits and also the
regular album inclusions.
Souvenir collecting focuses on objects that serve as mementos of personal experiences,
places visited, or events attended. The value lies in the memories and associations attached to the
items. At concerts and fan meeting events, K-pop groups often have booths where attendees can
redeem a venue-specific photocard with their valid concert ticket. The photocard is distributed
through a draw where fans get a random card and are encouraged to trade with others at the
venue. On the back of these cards, the name and date of the event are printed so fans can
preserve memories through this tangible item. K-pop fan Melanie Nava, who has been collecting
since the COVID-19 pandemic began, considers photocards she gets at concerts the more
sentimental items in her collection. “I have my seven ENHYPEN fanzone photocards that were
exclusive to their L.A. concert that I got all signed during their send-off event,” she said in an
19

interview. Since the photocards are concert-exclusive items and were also signed by the members
when Nava met them, she keeps them in a separate protective frame for display. With most
concert tickets now being distributed digitally, the implementation of event-specific photocards
by K-pop companies has become a new and treasured substitute for fans to keep as tangible
memories of their experiences.
Figure 4.3 Video - K-pop Concert Exclusive Photocards (https://youtu.be/F-CzUZyGLyo)
Lastly, systematic collecting follows a methodical and organized approach, with an
emphasis on categorization and creating a comprehensive collection within a specific framework.
Some fans craft collections that showcase their unique fan identity. Shin Yu collects photocards
of idols wearing glasses because she feels a personal connection to the theme. “I love this
specific collection of mine because I’m able to relate in a way because I also have prescription
20

glasses,” she said in her collectors’ survey response. Yu also possesses a collection of K-pop
photocards, all of which are in her favorite color, pink.
Figure 4.4 Shin Yu’s Glasses Photocard Collection
Collector Erika Troconis from Florida has a unique collection of food-and-drink-themed
photocards from different idols of different groups. Although she has been a K-pop fan since
2008, Troconis didn’t start collecting photocards until 2019 when she had disposable income
from her job to fund this expensive hobby. “Now I collect several groups at different levels —
some full group collections, some with selected members and some I just collect the albums
instead of the photocard inclusions,” she said. In March of 2023, Troconis took up a collection
21

focusing on photocards with K-pop idols holding different food and drink items. “I think this
theme is fun and it gives me a fun collection to work on instead of other collections I have that
feel more like a chore because of how extensive they are.”
Figure 4.5-4.12 Interactive Click-through Photo Gallery
22

Products such as binders and photocard holders are also popular among fans to store their
collections or display certain photocards. In the K-pop community, fans like to associate idols
with certain animals based on factors such as their personalities, facial features and sometimes
their stage names or personas. Member Hoshi of SEVENTEEN goes by a stage name that means
“tiger’s gaze,” describing his sharp stare while performing on stage. Fans of the idol often seek
out tiger-themed photocard holders or decorate their binders to reflect his persona. For her food
and drink photocards collection, Troconis buys food-themed fanmade holders to display her
photocards.
Figure 4.13 Food and Drinks Themed Photocard Holders
23

These three modes identified by Pearce offer different lenses that explain how K-pop fans
engage with collecting photocards, and the three methods can intersect as these elements
contribute to the understanding of the fandom practice.
24

Chapter 5: The Community
At its core, collecting is considered a social activity. The collectible nature fosters a sense
of community among fans who share a common interest in obtaining and trading photocards.
Traditionally, sites such as eBay are popular among a previous generation of collectors to buy
and sell items, but forums to discuss trading are limited. However, the new generation of
collectors has found different ways to centralize their collecting activities and one of the most
popular is through Instagram’s tag system. Through tags such as “#wtt” and “#wts,” meaning
“want to trade” and “want to sell,” fans can customize what they post to reach the targeted
audience. If a BLACKPINK fan wants to post and sell the group’s photocards, they can
customize the tags to be “#wtsblackpink” or “#blackpinksale.” Posts appearing under these tags
can also help buyers in browsing through a variety of photocards, with the hope of finding the
particular ones they desire. Sellers can be from the area, within the country and even across the
globe, which expands the market widely. The digital age has moved trading activities online, but
in-person events still occur as they offer collectors the chance to meet their local fan
communities. Noor Akhter started hosting in-person trading events in February of 2023 in the
Orange County area and had been a part of the K-pop trading community online for at least two
years prior. “My friends and I had actually met each other through the community online and one
of the first times we’d all hung out in person was through an in-person trading event,” Akhter
shared in an interview. The meeting gave Akhter and her friends the idea to plan one of their own
events as a way to meet and trade photocards with fans in the area. She believes she has fostered
a greater sense of her local K-pop fan community by participating and hosting in-person trading
events. At these events, fans can also save the hassle of packing and shipping photocards, which
can be costly. Products such as Toploaders to protect the photocards from bending, envelopes to
25

hold the item and postage are extra costs that fans have to assume when trading photocards
online.
Figure 5.1 Video- The Costs of Photocard Collecting (https://youtu.be/Hc_dTZ7K1uY)
Not only trading but buying CDs can surprisingly be a social activity for fans. L.A.-based
fan Jessica Cross often gathers a group of friends to visit K-pop stores to buy CDs and unbox
them together. “I love opening albums with friends because of the thrill in discovering which
photocard we pulled, and we can also trade if we pull each other’s biases,” she said in an
interview during a photocard trading event at hello82, a K-pop fan space located in Los Angeles.
Photocards have also become an unexpected accessory for fans as they often display their cards
on carriers such as tote bags and purses.
26

Figure 5.2 Video - Fan Identity Through Displaying Photocards (https://youtu.be/uyqYrSzbSCc)
“It’s such a conversation starter because fans will spot a photocard on someone’s bag and
be like, ‘Hey! I stan that group’ or ‘That’s my bias too!’” Cross shared that one night when she
was out, a fellow fan came up to her to gift a photocard of Joshua from SEVENTEEN after
seeing one of him attached to her handbag. Although the two didn’t speak the same language
because Cross was in a foreign country, she was touched by the non-verbal interaction. More
than just a conversation starter with strangers, photocards are a way for groups of K-pop friends
to uniquely capture memories together. As an alternative to selfies, fans take pictures of their
photocards, often of each person’s respective bias, when gathering together. Even if their faces
might not be present in the picture, fans feel adequately represented through these photocards of
their favorite idols instead. This social element enhances the overall fandom experience because
fans create memories by bonding over their excitement and love for shared interests.
27

Figure 5.3 Collage of Photocards as a Social Activity
28

Chapter 6: The Impact
As a K-pop fan for over a decade, I feel most connected to my identity as a photocard
collector. Through this hobby, I built the strongest connections with fellow fans and was able to
make sense of my own fandom experience. Over the years, I've experienced the rush of opening
albums to find randomized inclusions, the satisfaction of completing a photocard set and the joy
of meeting collectors who share my passion. My collection has grown and so has my
appreciation for the creativity, effort, and dedication that go into K-pop photocard collecting. The
2020 COVID-19 pandemic was a pivotal moment in my collecting journey, largely because it
became the primary way to pass the time while quarantined at home. During those long months
of isolation, my collection of SEVENTEEN photocards provided not only a distraction but
offered a much-needed routine as I found comfort in collecting, organizing and trading them with
fans online as we adapted to the new reality. It’s part amazing and part fascinating how a simple
piece of paper can become a source of meaning, nostalgia, and community for fans. In the realm
of K-pop, these photocards are more than just collectible items—they represent a tangible link to
the fans’ favorite idols, capture a moment in time or an expression that resonates deeply.
29

Figure 6.1 Footer image - Photocard Table Display
30

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Asset Metadata

Creator Nguyen, Hien Thai (author)

Core Title More than a pretty piece of paper: photocard collecting as a means to make sense of the K-pop fan experience

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism

Degree Conferral Date 2024-05

Publication Date 05/17/2024

Defense Date 05/17/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag Albums,collecting,fan culture,fan identity,fandom,fandom studies,idols,K-pop,memorabilia,merch,music,Music Industry,OAI-PMH Harvest,photocard,photocard collecting

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