DOCSLIB.ORG

K-Pop Music Digital Marketing Role in Brazil Case Study: Kim Hyun Joong

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
K-Pop Music Digital Marketing Role in Brazil Case Study: Kim Hyun Joong K-Pop Music Digital Marketing Role in Brazil Case Study: Kim Hyun Joong By Patricia Portugal Marques de Carvalho Lourenço Dissertation submitted in Fulfilment of the Requirement for the Degree of Master of Science in Business Communication At ISCEM April 2015 Supervisor: Professor Luis Larcher, ISCEM, Lisbon, Portugal Co-Adviser: Professor Sang Yong Kim (김상용), Korea University, Seoul, South Korea Abstract K-Pop is hugely promoted offline/online in East Asia, while efforts to promote it elsewhere are kept to a minimum. Whilst addressing the role of digital marketing in the promotion of K-Pop in the Brazilian music industry this MSc dissertation aims to demonstrate that if K-Pop thinks globally and acts locally in their marketing and communication strategies they will provide their audience with a unique and engaging experience. A case study analysis of Korean Pop star Kim Hyun Joong including a broad survey of K-Pop world fan base and Kim Hyun Joong’s fans specifically was carried out online with 1169 fans to determine the validity of the hypothesis. The results have demonstrated the need to adapt global strategies to local markets in order to increase brand awareness and maximize profits. Resumo O K-Pop é fortemente promovido de modo offline/online no Leste Asiático, enquanto os esforços para a sua promoção noutras regiões mundiais têm sido mínimos. Esta dissertação aborda o papel do marketing digital na promoção de K-Pop na indústria musical Brasileira, com o objetivo de demonstrar que se as estratégias de marketing e comunicação do K-Pop forem pensadas globalmente e executadas localmente, poderão prover a sua audiência de uma experiencia única e cativante. Um estudo de caso de uma estrela de K-Pop, Kim Hyun Joong, incluindo uma pesquisa mundial dos fans de K-Pop e do Kim Hyun Joong foi conduzida online com recurso a 1169 fans para determinar a validade da hipótese. Os resultados demonstraram a necessidade de adaptar as estratégias globais aos mercados locais para incrementar o reconhecimento da marca e maximizar os lucros. Acknowledgments I List of Abbreviations II Table of Contents III List of Tables IV List of Images & Figures V Acknowledgements A good dissertation depends on the person who writes it. How great it becomes though it depends on the support of others during the challenging moments. For their belief in me and in this research study, for the guidance and support given me throughout this journey I want to thank my supervisors Dr. Luis Larcher, Professor Sang Yong Kim (김상용) and Dr. Felipe Pathe Duarte. Thank you for the privilege of being my mentors! Instrumental to the successful completion of this project, I want to thank Dr. Fernando Freire for being an outstanding professor and for the guidance and support during all the key challenges of this dissertation! Dr. Andre Saraiva, thank you for your statistical expertise and for the help with SPSS. Thank you to Dr. Pedro Mendonca for guiding me in transforming the idea of the research project into concrete goals and objectives that became the structure of this dissertation and for listening to me talking about it for four months prior to the course starting date. To Fiona Clark who has proofread the research including the English questionnaires; to Park Sunhee who has translated them into Korean and has helped me with everything Korea related; to Emerson for proof-reading the Portuguese questionnaires and to the Korean Embassy here in Portugal for promoting both of my K-Pop & Kim Hyun Joong surveys online, thank you so much! I want to thank Ines, Fatima, Teresa, Sandra, Carmen, Patricia and Marta my closest friends and my godmother who have put up with me speaking about K-Pop and Kim Hyun Joong constantly for the duration of this Master’s Degree. A big thank you as well to Dr. Rogerio Canhoto for the inspiration regarding Digital Marketing, for all the advice given, for believing in me like my supervisors and like Dr Fernando Freire, Dr. Andre Saraiva and Dr. Pedro Mendonca. Finally I want to thank my mom for her support, inspiration and belief in me, in my work and in my dissertation! I love you to bits! Thank you all for having been part of this journey with me! This dissertation is dedicated to you! I List of Abbreviations B2B Business to Business B2C Business to Consumer BE Brand Engagement BR Brazil CAGR Compound Annual Growth Rate CC Collectivist Cultures CM Content Marketing CPC Cost-per-click CS Collectivist Societies EM Email Marketing E-Purchasing Electronic Purchasing FAQ Frequently Asked Questions HC High Context HCC High Context Communication HCCT High Context Cultures IC Individualist Cultures IPAG Instituto de Pesquisa Economica Aplicada IS Individualist Societies K-Drama Korean Drama K-Ent. Korean Entertainment KHJ Kim Hyun Joong KPI Key Performance Indicators K-Pop Korean Pop Music LC Low Context LCC Low Context Communication LCCT Low Context Cultures LT Long-term M&E Media & Entertainment MV Music Video OA Online Advertising OPR Online Public Relations PO Power Distance PPC Pay-per-click Q Quarter ROI Return on Investment SEM Search Engine Marketing SEO Search Engine Optimization SK South Korea SMM Social Media Marketing SMMO Social Media Marketing Optimization S-Purchasing Social Purchasing ST Short-term UA Uncertainty Avoidance VM Viral Marketing WA Web Analytics WOM Word of Mouth ZMOT Zero Moment of Truth II Table of Contents Chapter 1 Introduction 1 -4 Chapter 2 Intercultural Communication 2.1 Introduction 5 2.2 Cross-cultural Communication 5 2.3 Hofstede Cultural Dimensions 5 – 7 2.3.1 South Korea and Brazil’s Culture Comparison 8 – 9 2.4 Hall’s High Context/ Low Context Culture Analysis 9 – 10 2.5 Culture and Consumer Attitudes and Behaviour 10 – 11 2.6 Intercultural Communication, Marketing and Advertising 11 – 12 2.7 Conclusion 12 – 13 Chapter 3 Digital Marketing & Social Media 3.1 Introduction 14 3.2 Marketing Mix in the Digital Context 14 – 17 3.3 Herzberg Theory of Motivation, Digital Consumer & Decision Buying Process 17 – 18 3.4 Social Media 19 3.4.1 Facebook, Twitter and Youtube KPI’s 19 – 21 3.5 Website 21 – 22 3.6 SEO 22 3.7 ROI 22 3.8 Conclusion 23 Chapter 4 Digital Media & Social Media Market 4.1 Introduction 24 4.2 Digital Media Market 24 4.2.1 Current Media & Entertainment Market 24 – 25 4.2.2 Internet Penetration Rates 25 – 26 4.2.3 Internet Users 26 – 27 4.2.4 Time Spent Online 27 – 28 4.2.5 Digital Consumer and E-Commerce 28 4.3 Social Media Market 28 – 31 4.4 Digital Media & Social Media Market Growth 31 – 32 4.5 Conclusion 32 Chapter 5 Digital Music Market & Social Media: Global & Brazilian Markets 5.1 Introduction 33 5.2 Music Market Overview 33 – 34 5.3 Digital Music Market 34 – 35 5.3.1 Downloads 35 – 36 5.3.2 Streaming 36 5.3.2.1 Ad-Supported 36 – 37 5.3.2.2 Subscription 37 – 39 III 5.3.3 Mobile 39 5.4 Digital Music Consumer & Local Repertoire 40 – 41 5.5 Digital Music & Social Media 41 – 42 5.6 Conclusion 42 Chapter 6 Methodology 6.1 Introduction 43 6.2 Primary Sources 43 6.2.1 B2C Research 43 6.2.1.1 Web Surveys 43 – 48 6.2.1.2 Social Network Interview 48 6.2.1.3 Face-to-Face Interviews 49 6.2.1.4 Web Analytics 49 – 50 6.2.2 B2B Research 50 6.2.2.1 Email Surveys 50 6.2.3 B2C and B2B Field Research & Observation 50 – 51 6.3 Secondary Sources 52 6.4 Conclusion 52 – 53 Chapter 7 K-Pop 7.1 Introduction 54 7.2 K-Pop Theoretical Background 54 – 56 7.3 K-Pop Research Findings & Discussion 56 7.3.1 Research Findings 56 7.3.1.1 Demographics 56 7.3.1.2 K-Pop 57 – 65 7.3.1.3 Social Media 65 – 67 7.3.1.4 Communication 68 – 70 7.3.2 K-Pop Findings Discussion 70 – 74 7.4 K-Pop in Brazil 74 – 75 7.4.1 K-Pop Environment 75 7.4.1.1 Concerts and K-Pop Promotion 75 – 76 7.4.1.2 Merchandising 76 – 77 7.4.2 K-Pop Brazil Research Findings & Discussion 77 7.4.2.1 Demographics 77 7.4.2.2 K-Pop 77 – 82 7.4.2.3 Social Media 82 – 84 7.4.2.4 Communication 84 – 86 7.5 Interviews Discussion & Field Research in Brief 86 7.5.1 Face-to-Face, Facebook & Email 86 – 87 7.5.2 Seoul & Tokyo Field Research 87 7.6 Conclusion 87 – 88 Chapter 8 Kim Hyun Joong 8.1 Introduction 89 8.2 Web Analytics 89 8.2.1 Facebook 89 – 90 8.2.2 Youtube 90 – 91 8.2.3 Website 91 – 92 8.3 KHJ Research Findings & Discussion 93 8.3.1 Demographics 93 8.3.2 KHJ 94 – 100 8.3.3 Social Media 100 - 102 8.3.4 Communication 103 – 105 8.3.5 K-Pop 105 8.4 Seoul & Tokyo Field Research 106 8.5 Conclusion 106 – 107 Chapter 9 Conclusion & Final Considerations 108 – 111 References 112 – 124 Appendix Chapter 6 125 Appendix Chapter 7 126 Appendix Chapter 8 127 List of Tables1 2.1 South Korea versus Brazil’s Cultural Dimensions 3.1 Product Differentiation 3.2 New Purchasing Options 3.3 New Models of Distribution 3.4 Promotional Tools 3.5 Services Provided to Customers Online 3.6 Social Media KPI’s and Analytics 3.7 Digital Marketing KPI’s 3.8 Performance Measurement Tools 4.1 Hours Spent on PC/Laptop & Mobile 5.1 Digital Revenue Distribution in 2013 and Change compared to 2012 7.1 Top 10 Albums 2010 – 2014 by K-Ent.
Load more

Recommended publications
  • Gangnam Style’
    POLITICS, PARODIES, AND THE PARADOX OF PSY’S ‘GANGNAM STYLE’ KEITH HOWARD∗ ABSTRACT In 2012, ‘Gangnam Style’ occasioned large flash mobs, three of the early ones taking place in Pasadena, Times Square in New York, and Sydney, Australia. Today, Psy, the singer of ‘Gangnam Style’, is regularly talked about as having brought K-pop to the world beyond East and Southeast Asia, and Korean tourism chiefs are actively planning a Korean Wave street in Gangnam, the district of Seoul lampooned by the song. But, ‘Gangnam Style’ has proved challenging to K-pop fans, who have resisted its gender stereotyping, its comic framing, and its simple dance moves that subsume the aesthetics of movement under a sequence of locations and action vignettes. At the same time, foreign success has given the song, and its singer, legitimacy in Korea so much so that, despite lyrics and video images that critique modern urban life and caricature the misogynistic failures of its protagonist, Psy headlined the inauguration celebrations of Korea’s incoming president, Park Geun-hye, in February 2013. This paper explores the song, its reception and critique by fans and others, and notes how, in an ultimate paradox that reflects the age of social media and the individualization of consumerism, the parodies the song spawned across the globe enabled Koreans to celebrate its success while ignoring its message. Keywords: Korean Wave, K-pop, popular music, parody, mimesis, consumerism, social media, Gangnam Style, Psy. INTRODUCTION In 2012, ‘Gangnam Style’ occasioned large flash mobs, three of the early ones taking place in Pasadena, Times Square in New York, and Sydney, Australia.
    [Show full text]
  • Birth and Evolution of Korean Reality Show Formats
    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
    [Show full text]
  • Construction of Hong-Dae Cultural District : Cultural Place, Cultural Policy and Cultural Politics
    Universität Bielefeld Fakultät für Soziologie Construction of Hong-dae Cultural District : Cultural Place, Cultural Policy and Cultural Politics Dissertation Zur Erlangung eines Doktorgrades der Philosophie an der Fakultät für Soziologie der Universität Bielefeld Mihye Cho 1. Gutachterin: Prof. Dr. Joanna Pfaff-Czarnecka 2. Gutachter: Prof. Dr. Jörg Bergmann Bielefeld Juli 2007 ii Contents Chapter 1 Introduction 1 1.1 Research Questions 4 1.2 Theoretical and Analytical Concepts of Research 9 1.3 Research Strategies 13 1.3.1 Research Phase 13 1.3.2 Data Collection Methods 14 1.3.3 Data Analysis 19 1.4 Structure of Research 22 Chapter 2 ‘Hong-dae Culture’ and Ambiguous Meanings of ‘the Cultural’ 23 2.1 Hong-dae Scene as Hong-dae Culture 25 2.2 Top 5 Sites as Representation of Hong-dae Culture 36 2.2.1 Site 1: Dance Clubs 37 2.2.2 Site 2: Live Clubs 47 2.2.3 Site 3: Street Hawkers 52 2.2.4 Site 4: Streets of Style 57 2.2.5 Site 5: Cafés and Restaurants 61 2.2.6 Creation of Hong-dae Culture through Discourse and Performance 65 2.3 Dualistic Approach of Authorities towards Hong-dae Culture 67 2.4 Concluding Remarks 75 Chapter 3 ‘Cultural District’ as a Transitional Cultural Policy in Paradigm Shift 76 3.1 Dispute over Cultural District in Hong-dae area 77 3.2 A Paradigm Shift in Korean Cultural Policy: from Preserving Culture to 79 Creating ‘the Cultural’ 3.3 Cultural District as a Transitional Cultural Policy 88 3.3.1 Terms and Objectives of Cultural District 88 3.3.2 Problematic Issues of Cultural District 93 3.4 Concluding Remarks 96 Chapter
    [Show full text]
  • Annual Report and Financial Statements
    Annual Report and Financial Statements for the year ended 31 December 2019 Dimensional Funds ICVC Authorised by the Financial Conduct Authority No marketing notification has been submitted in Germany for the following Funds of Dimensional Funds ICVC: Global Short-Dated Bond Fund International Core Equity Fund International Value Fund United Kingdom Core Equity Fund United Kingdom Small Companies Fund United Kingdom Value Fund Accordingly, these Funds must not be publicly marketed in Germany. Table of Contents Dimensional Funds ICVC General Information* 2 Investment Objectives and Policies* 3 Authorised Corporate Director’s Investment Report* 5 Incorporation and Share Capital* 9 The Funds* 9 Fund Cross-Holdings* 9 Fund and Shareholder Liability* 9 Regulatory Disclosure* 9 Potential Implications of Brexit* 9 Responsibilities of the Authorised Corporate Director 10 Responsibilities of the Depositary 10 Report of the Depositary to the Shareholders 10 Directors' Statement 10 Independent Auditors’ Report to the Shareholders of Dimensional Funds ICVC 11 The Annual Report and Financial Statements for each of the below sub-funds (the “Funds”); Emerging Markets Core Equity Fund Global Short-Dated Bond Fund International Core Equity Fund International Value Fund United Kingdom Core Equity Fund United Kingdom Small Companies Fund United Kingdom Value Fund are set out in the following order: Fund Information* 13 Portfolio Statement* 30 Statement of Total Return 139 Statement of Change in Net Assets Attributable to Shareholders 139 Balance Sheet 140 Notes to the Financial Statements 141 Distribution Tables 160 Remuneration Disclosures (unaudited)* 169 Supplemental Information (unaudited)* 170 * These collectively comprise the Authorised Corporate Director’s (“ACD”) Report. Dimensional Fund Advisors Ltd.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • O Fenômeno K-Pop – Reflexões Iniciais Sob a Ótica Da Construção Do Ídolo E O Mercado Musical Pop Sul-Coreano1
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 40º Congresso Brasileiro de Ciências da Comunicação – Curitiba - PR – 04 a 09/09/2017 O FENÔMENO K-POP – REFLEXÕES INICIAIS SOB A ÓTICA DA CONSTRUÇÃO DO ÍDOLO E O MERCADO MUSICAL POP SUL-COREANO1 Letícia Ayumi Yamasaki2 Rafael de Jesus Gomes3 Universidade do Estado de Mato Grosso (UNEMAT) Resumo: A finalidade deste artigo é discutir de que forma a indústria fonográfica começa a se reinventar a partir da abrangência da internet e da cultura participativa (JENKINS, 2008) e suas estratégias para sobreviver nesse mercado. Dessa forma, pretende-se analisar aqui o fenômeno K-Pop (Korean Popular Music) e suas técnicas para a construção do ídolo, licenciamento de produtos e seu respectivo sucesso no mercado global de música. A partir de uma reflexão inicial, discutiremos aqui como a indústria cultural está absorvendo esses elementos e construindo novos produtos. Como aporte metodológico, reuniu-se a pesquisa bibliográfica a partir dos conceitos sobre produtos culturais, economia afetiva além de pesquisa em sites focados no universo da cultura Pop Sul-Coreana. Palavras-chave: K-Pop, convergência, estratégias, indústria cultural 1. INTRODUÇÃO Um mercado que fatura bilhões de dólares por ano, altamente influenciado pelo uso de tecnologias durante o processo de produção, consumo e sua relação com a lógica do capital (BOLAÑO, 2010); (ARAGÃO, 2008); (BRITTOS, 1999); (DIAS, 2010). Este é o cenário da indústria fonográfica que, nos últimos 20 anos precisa lidar com o faturamento de suas produções e, ao mesmo tempo, precisa também se adaptar aos processos de compartilhamento via aplicativos, streamings e serviços on demand (JENKINS, 2008); (KELLNER, 2004).
    [Show full text]
  • The K-Pop Wave: an Economic Analysis
    The K-pop Wave: An Economic Analysis Patrick A. Messerlin1 Wonkyu Shin2 (new revision October 6, 2013) ABSTRACT This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate— the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K- pop stars to new entertainment and art activities. Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does. Keywords: Entertainment; Comparative advantages; Services; Trade in services; Internet; Digital music; Technologies; Intellectual Property Rights; Culture; Koreanness. JEL classification: L82, O33, O34, Z1 Acknowledgements: We thank Dukgeun Ahn, Jinwoo Choi, Keun Lee, Walter G. Park and the participants to the seminars at the Graduate School of International Studies of Seoul National University, Hanyang University and STEPI (Science and Technology Policy Institute).
    [Show full text]
  • Bab Ii Tinjauan Pustaka
    BAB II TINJAUAN PUSTAKA A. DESKRIPSI SUBYEK PENELITIAN 1. SISTAR Sistar merupakan girlband yang berada di bawah naungan Starship Entertainment. Girlband yang debut pada tanggal 3 Juni 2010 ini beranggotakan Hyorin, Soyu, Bora, dan Dasom. Teaser debut Sistar yang berjudul Push Push rilis pada tanggal 1 Juni 2010, dan melakukan debut stage pertama kali di acara Music Bank (salah satu acara musik Korea Selatan) tanggal 4 Juni 2010 (http://www.starship- ent.com/index.php?mid=sistaralbum&page=2&document_srl=373, diakses pada 26 oktober 2017 pukul 11.30 WIB). Gambar 2.1 Foto teaser debut Sistar berjudul Push Push Di tahun yang sama, tepatnya tanggal 25 Agustus, Sistar kembali mempromosikan single debut berjudul Shady Girl. Single ini semakin membuat nama Sistar dikenal oleh khalayak, dan menempati chart tinggi dibeberapa situs musik Korea Selatan. Tanggal 23 13 14 November, Sistar merilis Teaser MV untuk single baru berjudul How Dare You. Namun karena permasalahan perebutan perbatasan antara Korea Utara dan Korea Selatan, membuat MV untuk Single How Dare You sedikit terlambat dipublikasikan. Tepat seminggu, akhirnya pada tanggal 2 Desember MV tersebut rilis dan berhasil menempati urutan teratas di beberapa chart music seperti Melon, Mnet, Soribada, Bugs, Monkey3, dan Daum Musik. Dalam Melon Chart bulan Desember tahun 2010, Sistar menempati urutan ke empat dalam Top 100 (http://www.melon.com/chart/search/index.htm, diakses pada 26 oktober 2017 pukul 12.25 WIB). Sistar - Single How Dare You Gambar 2.2 Melon Chart Desember 2010 Untuk tahun 2011, Sistar kembali melebarkan sayapnya di dunia musik dengan membentuk sub-unit yang beranggotakan Hyorin dan Bora.
    [Show full text]
  • アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE
    アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)（KOR） 1072528598 K-POP 2,290 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)（KOR） 1072528759 K-POP 2,290 https://tower.jp/item/4875653 100% (Korea) 28℃ ＜通常盤C＞ OKCK05028 K-POP 1,296 https://tower.jp/item/4825257 100% (Korea) 28℃ ＜通常盤B＞ OKCK05027 K-POP 1,296 https://tower.jp/item/4825256 100% (Korea) 28℃ ＜ユニット別ジャケット盤B＞ OKCK05030 K-POP 648 https://tower.jp/item/4825260 100% (Korea) 28℃ ＜ユニット別ジャケット盤A＞ OKCK05029 K-POP 648 https://tower.jp/item/4825259 100% (Korea) How to cry (Type-A) ＜通常盤＞ TS1P5002 K-POP 1,204 https://tower.jp/item/4415939 100% (Korea) How to cry (Type-B) ＜通常盤＞ TS1P5003 K-POP 1,204 https://tower.jp/item/4415954 100% (Korea) How to cry (ミヌ盤) ＜初回限定盤＞（LTD） TS1P5005 K-POP 602 https://tower.jp/item/4415958 100% (Korea) How to cry (ロクヒョン盤) ＜初回限定盤＞（LTD） TS1P5006 K-POP 602 https://tower.jp/item/4415970 100% (Korea) How to cry (ジョンファン盤) ＜初回限定盤＞（LTD） TS1P5007 K-POP 602 https://tower.jp/item/4415972 100% (Korea) How to cry (チャンヨン盤) ＜初回限定盤＞（LTD） TS1P5008 K-POP 602 https://tower.jp/item/4415974 100% (Korea) How to cry (ヒョクジン盤) ＜初回限定盤＞（LTD） TS1P5009 K-POP 602 https://tower.jp/item/4415976 100% (Korea) Song for you (A) OKCK5011 K-POP 1,204 https://tower.jp/item/4655024 100% (Korea) Song for you (B) OKCK5012 K-POP 1,204 https://tower.jp/item/4655026 100% (Korea) Song for you (C) OKCK5013 K-POP 1,204 https://tower.jp/item/4655027 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)（LTD） OKCK5015 K-POP 602 https://tower.jp/item/4655029 100% (Korea)
    [Show full text]
  • Fenomén K-Pop a Jeho Sociokulturní Kontexty Phenomenon K-Pop and Its
    UNIVERZITA PALACKÉHO V OLOMOUCI PEDAGOGICKÁ FAKULTA Katedra hudební výchovy Fenomén k-pop a jeho sociokulturní kontexty Phenomenon k-pop and its socio-cultural contexts Diplomová práce Autorka práce: Bc. Eliška Hlubinková Vedoucí práce: Mgr. Filip Krejčí, Ph.D. Olomouc 2020 Poděkování Upřímně děkuji vedoucímu práce Mgr. Filipu Krejčímu, Ph.D., za jeho odborné vedení při vypracovávání této diplomové práce. Dále si cením pomoci studentů Katedry asijských studií univerzity Palackého a členů české k-pop komunity, kteří mi pomohli se zpracováním tohoto tématu. Děkuji jim za jejich profesionální přístup, rady a celkovou pomoc s tímto tématem. Prohlášení Prohlašuji, že jsem diplomovou práci vypracovala samostatně s použitím uvedené literatury a dalších informačních zdrojů. V Olomouci dne Podpis Anotace Práce se zabývá hudebním žánrem k-pop, historií jeho vzniku, umělci, jejich rozvojem, a celkovým vlivem žánru na společnost. Snaží se přiblížit tento styl, který obsahuje řadu hudebních, tanečních a kulturních směrů, široké veřejnosti. Mimo samotnou podobu a historii k-popu se práce věnuje i temným stránkám tohoto fenoménu. V závislosti na dostupnosti literárních a internetových zdrojů zpracovává historii žánru od jeho vzniku až do roku 2020, spolu s tvorbou a úspěchy jihokorejských umělců. Součástí práce je i zpracování dvou dotazníků. Jeden zpracovává názor české veřejnosti na k-pop, druhý byl mířený na českou k-pop komunitu a její myšlenky ohledně tohoto žánru. Abstract This master´s thesis is describing music genre k-pop, its history, artists and their own evolution, and impact of the genre on society. It is also trying to introduce this genre, full of diverse music, dance and culture movements, to the public.
    [Show full text]
  • Mediatalk: the Bright Appeal of M&A
    H2: 2020 MEDIAtalk THE BRIGHT APPEAL OF M&A ii h2 2020 | mediatalk mediatalk | h2 2020 1 H2: 2020 MEDIAtalk A WORD FROM ANDY VINER GLOBAL HEAD OF MEDIA AND ENTERTAINMENT GLOBAL M&A: OVERVIEW 4 UK MEDIA M&A: OVERVIEW 10 Media in 2020 proved to be a remarkably resilient sector, buoyed in particular by increased demand for entertainment UK MEDIA M&A: HOT SECTORS 12 and related services. Globally, the value of media-related THE MEDIA PORTFOLIO 16 M&A topped USD $130 billion, a figure that underscored the market’s staying power in a remarkably difficult year. SPOTLIGHT ON THE US 20 And even though we saw a reduction in the number of deals LOOKING AHEAD TO 2021 25 announced in 2020, average deal values actually increased by around 14%. There was, of course, a significant divergence in how COVID-related restrictions affected different subsectors, with large numbers of companies directly vulnerable to lockdown policies and the newly cautious behaviour of consumers that went with them. While premiums were placed on assets and businesses with strong tech underpinnings and/or embedded data and digitalisation plans, deals targeting under-performing businesses were slower to materialise. Investors will now need to determine how to price in any necessary recovery period and the impact of corporate decisions taken to help businesses weather the storm. 2 h2 2020 | mediatalk mediatalk | h2 2020 3 A WORD FROM ANDY VINER continued That said, while revenue growth may be that. With its attractiveness to overseas slower initially through Q1, we anticipate investors and potential to bounce back, recovery to speed up over the rest of the it made up a big chunk of all deals struck year, and there could well be a shorter path through 2020, both within the UK and for M&A too.
    [Show full text]
  • K-Pop Fandom in Lima,Perú
    Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses.
    [Show full text]