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Morales Lezica, Nacha Macarena BTS EN ARGENTINA Estrategia de Branding y Comunicación Morales Lezica, Nacha Macarena 79592 Lic. En Publicidad. Proyecto Profesional Medios y Estrategia de Comunicación 22/02/2019 1 Agradecimientos. El proceso de creación de este Proyecto de Grado se ha ido gestionando desde el descubrimiento del mundo del pop coreano, así que quisiera incluir, en esta página, a todos los que han formado parte de estos años: Quisiera agradecer, en primer lugar, a mis padres por acompañarme en mis pasiones, apoyarme económicamente en el desarrollo de mi carrera y mi desarrollo autodidacta como fotógrafa. Mamá, gracias por darme tanto amor y criarme con dulzura. A mi profesor de Maximiliano Crespi, por guiarme y exigirme durante la escritura de este Proyecto de Grado. A los profesores que, durante los estudios de mi carrera de publicidad, y cursos de fotografía, me han mostrado nuevas perspectivas creativas y herramientas para desarrollarlas. A mi profesor de coreano, por acompañarme en el aprendizaje del idioma y hacer que el proceso sea aún más divertido. Aunque nunca lo leerán, quisiera agradecer a Kai de EXO, por ser la causa de mi amor por el K-Pop, su idioma y cultura. Por otro lado, a Jackson Wang de GOT7 por inspirarme a estudiar chino mandarín, desafiarme a mi misma y mantener mi esencia dulce y creativa. A mi amiga Caterina, por acompañarme en toda esta locura del K-Pop e ir conmigo al primer recital de GOT7 (el más divertido) e inspirarme a dar lo mejor de mi. También quisiera agradecer a Lollipop media y Korean Make Up in Buenos Aires por aportar en mi investigación acerca del consumo del K-Pop en Argentina. También al club de fans argentino de MONSTA X por ayudarme a difundir la encuesta y brindarme datos de los pedidos masivos de álbums. 2 Índice Introducción. 7 Capítulo 1. Introducción al marketing y publicidad. 13 1.1 Marketing y Publicidad. 13 1.2. Brief. 13 1.3. Micro y macroentorno: componentes. 15 1.4. Investigación de mercados. 14 1.4.1. Proceso de investigación. 16 1.5. Consumidor. 16 1.5. Procesos psicológicos 17 1.5.1. Emoción e inconsciente. 17 1.5.1.1. Teoría de Sigmund Freud. 17 1.5.1.2. Proceso de decisión. 17 1.5.1.3. Teoría de Maslow. 18 1.5.1.4. Estímulos positivos y negativos: teoría de Herzberg. 18 1.5.1.5. Proceso de compra. 19 1.5.1.6. Fases. 19 1.7. Target. 20 1.8. Segmentos de mercado. 20 1.8.1. Tipos de segmentación. 21 1.8.1.2. Segmentación geográfica. 21 1.8.1.3. Segmentación demográfica. 21 1.8.1.4. Segmentación psicográfica. 22 1.8.1.5. Segmentación conductual. 22 1.9. Competencia. 22 1.9.1. Análisis de competencia. 23 1.10. Identidad corporativa. 23 1.11. Posicionamiento. 24 1.12. Planificación de comunicación. 25 1.12.1. Imagen y mensaje publicitario: connotación y denotación. 25 1.12.2. Historial de comunicación. 27 1.12.3. Planificación de campaña. 28 1.12.4. Canales de comunicación. 28 1.12.5. Público objetivo. 29 1.12.6. Objetivo de comunicación. 29 1.12.7. Planificación de medios. 30 1.12.8. Acciones y técnicas de comunicación. 31 1.12.9. Medios ATL y BTL. 32 1.12.9.1 Medios online. 33 1.12.9.2. Medios Tradicionales. 34 Capítulo 2. Antecedentes. 36 2.1. El consumo del K-Pop en Buenos Aires. 36 2.2. Cuando el KPOP conoció Internet. 37 2.3. Telenovelas coreanas en América Latina. 38 3 2.4. La experiencia del Centro Cultural Coreano de Buenos Aires. 38 2.5. El poder de la marca en la cultura. 39 2.6. Marketing de Guerrilla: Lo no convencional triunfa. 40 2.7. Antecedentes facultativos. 41 Capítulo 3. Contexto actual de la industria del K-Pop. 46 3.1. ¿Qué es el K-Pop?. 47 3.1.1. K-Pop y la oleada coreana. 47 3.2. Cultura, economía y política. 47 3.2.1. Idioma y cultura. 47 3.2.1.1. Aprendizaje activo y pasivo. 48 3.2.2. Cultura, gastronomía, turismo. 49 3.2.3. Dramas y K-Pop. 50 3.2.4. Política. 51 3.3. Moda e imagen. 52 3.4. Categorías en grupos. 52 3.4.1. Líder. 53 3.4.1.2. Relaciones interpersonales y términos. 53 3.4.2. Rap line y vocal line. 55 3.4.3. Dancer y visual. 56 3.4.4. Servicio militar. 57 3.5. El mercado de entretenimiento surcoreano y sus compañías. 57 3.5.1. JYP Entertainment. 58 3.5.2. SM Entertainment. 58 3.5.3. STARSHIP Entertainment. 59 3.5.4. Big Hit Entertainment. 59 3.6. Producción de contenido. 59 3.6.1. Contenido propio. 60 3.6.1.1. Álbums y mini-álbums. 60 3.6.1.1.1. Photocards. 61 3.6.1.1.2. Versiones y libros de fotografías. 61 3.6.1.2. Álbums y MVs en otros idiomas. 63 3.6.1.2.1. Canciones para el público japonés. 63 3.6.1.2.2. Canciones para el público chino. 65 3.6.1.3. MVS y comeback stages. 66 3.6.1.4. Dance Practice. 67 3.6.1.5. Presentaciones en vivo: JYP Entertainment. 67 3.6.1.6. Shows. 68 3.6.1.6.1. Lightsticks y océanos de luz. 69 3.6.1.6.2. Mini lightsticks. 71 3.6.1.7. Season's greetings. 71 3.6.1.8. Clubs de fans. 71 3.6.1.8.1. Fan Cafe. 72 3.6.1.8.2. Interacción con audiencia. 72 3.6.1.8.3. Cheer guide y fan chant. 77 3.6.2. Contenido generado por audiencias. 78 3.6.2.1. Focus Cam. 78 3.6.2.2. Contenido en Youtube. 78 3.6.2.3. Fan sites. 80 3.6.3. Programas de entretenimiento. 81 3.6.3.1. Dingo. 81 3.6.3.1.1. Dingo Music. 81 3.6.3.1.2. Dingo K-Beauty y K-Drama. 83 3.6.3.2. Buzzfeed Celeb. 83 4 3.6.3.3. Mwave, M2, KBSK-Pop , Mnet-K-Pop. 84 3.6.3.4. V LIVE. 85 3.7. BTS: Análisis de competencia. 86 3.7.1. GOT7. 87 3.7.1.1. JJ Project. 87 3.7.1.2. JUS2. 88 3.7.1.3. Club de Fans. 88 3.7.1.4. Imagotipo, lightstick y representación de IGOT7. 88 3.7.1.5. Present: YOU. 89 3.7.1.5.1. Pre-Lanzamiento. 89 3.7.1.5.2. Lanzamiento Present: YOU. 90 3.7.1.5.3. Present: YOU & ME. 91 3.7.1.5.4. Lullaby en cuatro idiomas. 92 3.7.1.5.4.1. Antecedentes: canciones en español. 93 3.7.1.6. Producción de contenidos. 94 3.7.1.6.1. GOT The Stage. 94 3.7.1.6.1.1. 7 for 7. 95 3.7.1.6.2. GOT7 Studio. 95 3.7.1.6.3. Performance Video y Performance MV. 96 3.7.1.6.4. Dance Practice. 96 3.7.1.6.5. Lyric ASMR. 98 3.7.1.6.6. Programas de variedades. 98 3.7.1.6.7. GOT7 en Argentina. 99 3.7.1.6.7.1. Proyectos de fans: océano de color. 100 3.7.2. EXO. 100 3.7.2.1. EXO-CBX. 101 3.7.2.2. Imagotipo. 101 3.7.2.3. Club de fans. 102 3.7.2.4. Lightstick. 102 3.7.2.5. Álbums: versiones y mercados diferentes. 103 3.7.2.5.1. Contenido para mercados extranjeros. 105 3.7.2.6. Producción de contenido audiovisual. 107 3.7.2.7. Campaña de Turismo 2018: “EXO te pregunta ‘¿alguna vez...en Corea?’” 108 3.7.3. MONSTA X. 109 3.7.3.1. Álbums. 109 3.7.3.2. Club de fans y lightstick. 110 3.7.3.3. Producción de contenido audiovisual. 110 3.7.3.3.1. MVS: storyline y concepto. 111 3.7.3.3.1.1. Inicios. 111 3.7.3.3.1.2. Cambio. 112 3.7.3.3.1.3. THE CLAN pt. 1. Lost. 112 3.7.3.3.1.4. THE CLAN pt. 2. Fighter. 114 3.7.3.4. MONSTA X en Argentina . 115 3.7.4. SUPER JUNIOR. 116 3.7.4.1. SUPER JUNIOR: Conexión con público hispanohablante. 116 3.7.4.2. Eventos en Argentina. 117 3.7.5. DAY6. 117 3.7.6. K-Pop en Argentina. 118 3.7.6.1. Encuesta. 121 3.7.6.2. Lollipop media. 123 3.7.6.3. Nuna Beauty Salon. 124 Capítulo 4. BTS. 125 4.1.Primera parte: Análisis de BTS. 125 5 4.1.1. Logotipo y significado de BTS. 125 4.1.2. Relevancia de BTS: aporte, cambios en la industria y posicionamiento. 126 4.1.2.1. Smeraldo Books. 135 4.1.3. Moda e imagen. 136 4.1.4. Club de fans, Army Bomb. 136 4.1.5. Álbums. 137 4.1.6. Producción de contenido. 137 4.1.7. Productos y campañas. 138 4.1.7.1. LINE Friends y BTS: BT21. 138 4.1.7.2. VT Cosmetics. 138 4.1.7.3. Campaña Love Myself y discurso en las Naciones Unidas. 139 4.1.8. ARMY Pedia. 139 4.2. Segunda parte: Campaña de posicionamiento. 140 4.2.1. Campaña incógnita. 141 4.2.1.1. “Nos vemos pronto”. 141 4.2.2.
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