本研究首先要回答：韓國流行音樂（K-Pop）何以能在韓文並非強勢語言的限制下跨越國界？除了政策投入與資本整併，更仰賴新興網路影音分享平台的流通，與文本型構中高度的視覺性與身體化。有別於一般音樂錄影帶分析僅著眼於文本的視覺元素，本研究在方法上援用社會學家Scott Lash和Celia Lury所提出的追蹤物件（following the object）方法論，關注K-Pop作為消費對象物的跨文化流通歷程：從其生產到消費的全球在地化。透過對韓國音樂產業人士的訪談、相關文章的回顧、MV的文本分析、以及台灣本地迷群的參與觀察與深度訪談，本文亦將討論回答以下兩個子題：（一）在韓國流行音樂的發展脈絡中，視覺化、身體化與性別化的文本如何被設計產製，並在全球進行跨文化流通？（二）在地迷群如何挪用這些視聽素材，使之納入日常生活中的次文化實作與性別展演，進而形塑自身與群體的性別認同？

This paper tries to resolve the puzzle firstly: how can Korean pop (K-Pop) become transbordering since Korean is not the main language in the world? It can be attributed to the policy input and capital integration, the textual circulation through emerging audio-video platform on-line, as well as the specific textual form with intensive visuality and embodiment. This paper applies not only traditionally visual-textual analysis but also the new methodology called “following the object” by the British sociologists Scott Lash and Celia Lury. The researcher regards K-Pop as an object of cross-cultural consumption and tracks its circulation from local production to “glocal” consumption. Through the interview to the K-Pop professionals, review of the relevant articles, textual analysis of the music videos and the ethnographic fieldwork of local fans community, this paper tries to answer the two questions: (1) how does K-Pop produce itself by the strategies of visualization and embodiment, as well as gendered performance; (2) how do the fans appropriate the K-Pop texts to re-perform and re-shape their gender identities in their everyday life.