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The size of China’s State-owned media’s operations in Africa has grown significantly since the early 2000s. Previous research on the impact of increased Sino-African mediated engagements has been inconclusive. Some researchers hold that public opinion toward China in African nations has been improving because of the increased media presence. Others argue that the impact is rather limited, particularly when it comes to affecting how African media cover China-related stories. This article contributes to this debate by exploring the extent to which news media in 30 African countries relied on Chinese news sources to cover China and the COVID-19 outbreak during the first-half of 2020. By computationally analyzing a corpus of 500,000 written news stories, this paper shows that, compared to other major global players (e.g. Reuters, AFP), content distributed by Chinese media (e.g. Xinhua, China Daily) is much less likely to be used by African news organizations, both in English and French speaking countries. The analysis also reveals a gap in the prevailing themes in Chinese and African media’s coverage of the pandemic. The implications of these findings for the sub-field of Sino-African media relations, and the study of global news flows are discussed.

The global circulation of Asian cultural products has been on a constant rise since the 1990s. However, the arrival to Spanish-speaking audiences is a more recent phenomenon, one that is linked to the consolidation of web-based tools for consumption, distribution and discussion of cultural artefacts. The different stages in which Hallyu, or the 'Korean Wave', reached different countries determined the intensity of scholarly interest in the phenomenon. If the research gap between Asia and Europe is wide, the later arrival to Spain and Latin America means that studies on the reception of Korean popular culture, including those dealing with fandom, are quasinon-existent. This article is a first attempt at mapping the demographics of K-pop and K-drama fans in the Spanish-speaking world, through an analysis of an online survey. Drawing from the uses and gratifications approach in mass communication research, we discuss fans' appropriation of K-pop, describe their shared iconography and analyse the peculiarities of male fans by studying their self-narratives. We conclude with a discussion on the need for studies of fandom to transcend national boundaries as exemplified by the advent of a 'transatlantic connection' linking fans in Spain and in Latin America via South Korea.