The Evolution of Media and Idols in the SNS Era

The theme of this series is idols.

This is not (solely) because the author is a fan, but rather because, from a position of researching and sharing opinions about SNS and communication there, I believe examining the nature of media, communication, and even entertainment through the lens of idols can uniquely depict their current state and future.

To that end, I've summarized three key perspectives. Each will be explored within the series.

① Idols from the perspective of society and its members (societal viewpoint)
What do idols mean to us today? Beyond individual preferences for specific idols, how are idols themselves accepted in this society, and where do we find value in them?

② Idols from the perspective of advertising promoters (the marketing viewpoint)
Idols have the power to capture the attention of fans and the general public, and even to move people. Where people move, commerce follows. Recently, collaborations between idols and corporate marketing activities have increased. What kind of communication design can achieve a "win-win-win" scenario where idols, consumers, and advertisers all benefit?

③ Idols from the Media Perspective (Entertainment Business View)
For media, idols are crucial partners in creating programs and related content. In the SNS era, the individual influence of each idol is also an indispensable factor. How has the role of "idols" in the entertainment field changed compared to the past?

This installment aims to lay the groundwork for discussions that will connect to the latter half of this series, examining the topic from the societal perspective outlined in point ① above. By examining several media studies, I would like to propose keywords regarding the nature of the modern idol (see the end of this article for reference materials).

The Evolution of Media and the Birth of Idols

This paper defines an idol as something that appears before us through media. While the term is also commonly used in face-to-face contexts, like "the class idol," this too can be seen as a metaphor premised on the above definition.

This "distance" – the fact they "appear through media" – is crucial. If we make this assumption when analyzing our relationship with idols, we realize we must first consider the evolution of media.

Several strands of idol research/theory argue that the progression of the media environment from film to television held decisive significance for the birth of idols. As the term "silver screen star" suggests, ordinary people once had a relationship where they looked up to stars through film works. However, as the era shifted to television, that distance can be said to have closed.

Stars were affiliated with film studios and remained confined to the world of cinema. This very limitation created a practical need for television to develop icons that could captivate audiences. Amidst this demand for new era icons to replace the film stars, the position of "talent" active on television was established. Within this group, some individuals evolved exceptionally, eventually securing the position of "idol."

Beyond these commercial practices, the difference in the standing of stars and talents can also be understood through a media theory approach.

Stars appear before us as figures within the completed film—a work of the past. This very distance creates the prestige of being someone on a different stage from us.

In contrast, television, with its mission to widely convey what is happening now, can be positioned as a medium strongly rooted in the present. This can also be described as live broadcasts or real-time transmission. The image demanded here is that of a talent, not a star. While the value of a movie star lies in their asynchrony with the audience—that is, in their time lag (delay)—the value of a talent lies in their "synchrony." What is sought is not prestige, but familiarity; not weighty, profound lines, but light, easily understandable commentary.

Of course, television has exceptions like dramas. Dramas belong to the "past" in the sense that they broadcast something already completed. However, as media theorist McLuhan stated, "When a new medium emerges, the old medium becomes the content of the new medium," dramas are cinematic in nature. It should also be noted that television has broadcast dramas live (conversely, "live-broadcast films" are fundamentally impossible).

Within this media evolution, "idols" emerged from music programs (for television as a medium, music programs were killer content from its dawn).

The origin of Japanese idols (though theories vary) can likely be traced to Saori Minami's debut in 1971. This led to the so-called golden age of idols in the 1980s, where iconic figures representing their era, such as Seiko Matsuda and Kyoko Koizumi (Kyongkyong), dominated television.

Earlier, I positioned stars as belonging to the past and talents to the present. So what about idols? Here, I would describe them as belonging to the "future (in a sense)." I say "future (in a sense)" rather than simply "future" because it indicates they have a foothold in the present while simultaneously poised to move toward the future, implying that greater value is expected from what lies ahead rather than the present.

Idols are often young. Of course, this isn't just about chronological youth. Their value lies in the fact that many people perceive in them the potential for future growth and the expectation of a future leap forward – in other words, their unfinished nature, unlike that of a star. That is precisely why they are described as future-oriented.

A pivotal moment in Japanese idol history is the 1985 debut of Onyanko Club. It's here we see the implementation of mechanisms we now associate with idols: the formation of spin-off groups, member graduations, and solo activities. The defining characteristic evident here is the idol's unfinished nature. Value resides in their ongoing evolution and refusal to be fully completed.

Indeed, in groups like AKB48 and many others, graduation songs often form a climactic moment, frequently positioned as a highlight in live performances. Furthermore, elements like "auditions," "popularity polls/elections," and "surprise personnel changes" in groups such as AKB48 are nothing less than future-oriented mechanisms designed to share the unpredictability of what might happen with fans.

SNS Connections Drive Idols and Fans Forward

Precisely because the future is inherently uncertain, it demands a commitment to engage with it. Modern mechanisms like "auditions," "popularity polls/elections," and "selection battles" help us actively participate in and support an idol's future—through this, we experience contributing to their future.

Idols have always provided "aspiration" across eras, but it's undeniable that mechanisms like those above have intensified the "empathy" aspect in modern times. We empathize by identifying with someone facing a wall, struggling and suffering there, yet striving to overcome it with positive force.

Furthermore, modern idols actively use social media to connect with fans beyond the stage. This, too, contributes to deepening the level of empathy rooted in familiarity.

I actually had the opportunity to speak with a member of Last Idol ( an idol group born from an audition program broadcast on the TV Asahi network, debuting in December 2017). I vividly remember her remark: "The stage, handshake events, and communication on SNS are all important places to connect with fans. Among these interactions, the reactions when we lost (in the selection battles) were especially passionate."

Meanwhile, contemporary media, much like idols, is increasingly driven by empathy.

In media studies, the metaphor of a "window" is often used. This window functions as a screen (or flat media like print pages) that projects distant events right before our eyes, informing us. This signifies media as a device for transmitting information.

However, there is an argument that contemporary media is shifting from a "window" to a "mirror." Being a mirror means it reflects the audience—ourselves. In fact, the very principle of projection—showing us what we want to see, reflecting scenes we wish to embody—can be seen as a structure that generates strong empathy from consumers. This is what fuels the fervor of fan communities.

Why is the importance of idols growing in marketing activities today?

A cycle is emerging across various platforms: fans connect through SNS, amplifying their passion, and the visible surge of support further fuels the excitement. While details will be covered in Part 2 of this series, data confirms such buzz frequently occurs on SNS.

Furthermore, it's crucial to note that supporting someone you admire is now expressed as "pushing" them, and terms like "pushing activities" and "pushing work" have become significant activities in youth consumption. Considering the future-oriented nature of idols discussed in this paper, this is closer to "investment" than consumption. Currently, the bond between idols and their fan communities is exceptionally strong in this form.

Furthermore, regarding the keyword of idols being future-oriented, in this era of uncertainty, the value of supporting an idol also seems to lie in its ability to refocus one's perspective forward.

Considering the social impact idols possess in this way opens possibilities for communication strategies that extend beyond mere tie-ups. An era is dawning where access to idols and their fan communities can become solutions for the challenges faced by brands and media.

※In writing this article, the following literature was referenced as prior research on idols:

・Shinra Sakai, The Idol Wealth of Nations: Decoding the Era from Seiko and Akina to AKB and Momoclo (2014, Toyo Keizai Inc.)
・Shigeru Nishikane, Lectures on Idols/Media Theory (2017, The University of Tokyo Press)