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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 -
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). -
THE GLOBALIZATION of K-POP by Gyu Tag
DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program. -
Entertainment&Media
ENTERTAINMENT&MEDIA CJ E&M CJ CGV CJ HELLOVISION 1 CJ E&M is Asia’s No.1 integrated contents company, offering a variety of contents and platform services, including media, movies, live entertainment, and games. CJ E&M leverages synergies by converging a myriad of contents to lead the global Hallyu with new contents developed for one source for multi-use. 25 Korea’s first Multiplex Theater CGV boasts the largest number of cinemas in Korea and the greatest brand power. CGV has continued to develop a unique cinema experience so that the audience can watch a movie within the optimal environment. Cultureplex offers a new paradigm in movie theaters and is just one of the many innovations that CJ has brought to the movie industry. 41 CJ HelloVision is a leader in the smart platform market, delivering valuable contents and information to customers. CJ HelloVision provides you with advanced services fit for the new media environment. Its products include smart cable TV ‘hello tv Smart,’ digital cable TV ‘hello tv,’ fast speed internet ‘hello net,’ internet home telephone ‘hello fone,’ Korea’s No.1 budget phone service ‘hello mobile’ and the N screen service ‘tving.’ CJ E&M CJ CGV CJ HELLOVISION 2 3 BUSINESS OVERVIEW FINANCIAL HIGHLIGHTS CJ E&M Weight of each business Sales by year (Unit: billion won) CJ E&M Center, 66, Sangamsan-ro, Mapo-gu, Seoul as % of sales www.cjenm.com (As of 2013) 2013 1,716.1 2012 1,394.6 29% Asia’s No.1 Total Contents Company CJ E&M, 2011 1,279.2 45% creating a culture and a trend 12% Media Sales Profit by Year (Unit: billion won) Game 14% CJ E&M is the No.1 total contents company creating culture and trends. -
Travail Personnel Korean Entertainment
Travail Personnel Korean Entertainment Nom: Alves Chambel Prénom: Carolina Classe: 6G3 Tutrice: Amélie Mossiat 2019/2020 Introduction Hello, my name is Carolina and I am 14 years old. My 2019/2020 TRAPE is about Korean Entertainment! I have been into K-Pop for almost 3 years and I have always been researching lots of things about Korean celebrities, their activities and their TV shows. Since I was a child, I have always been very curious about the Asian culture, even though I thought they were gangster. As I grew up, I have become more and more connected to their culture. Then, at the end of 2016, I listened to my first K-Pop song ever. I was 10 years old and I was in primary school when I got to know EXO, the first group I listened to. They had a big impact in my life because in that moment I was struggling mentally and physically... The only thing that made me happy, was listening to their songs! They would make feel better in every way possible, once I listened to some music, I’d completely forget about my worries. It was always the best part of my days. That is why I have grown attached to K-Pop songs, dances and singers. Table of contents WHAT WERE THE MOST FAMOUS SERIES (KOREAN DRAMAS)? (2019) IS IT POPULAR IN OTHER COUNTRIES? WHO IS MY FAVOURITE ACTOR AND ACTRESS? ARE IDOLS ALSO ACTORS? WHAT GENRES OF DRAMAS ARE THERE? WHAT GENRE OF MUSIC DO THEY DO? WHAT ARE THE MOST FAMOUS GROUPS IN KOREA AND INTERNATIONALLY? WHAT ARE THE MOST FAMOUS SONGS? DO K-DRAMAS ALSO HAVE SONGS? What were the most famous series (Korean Dramas)? (2019) Since we are at the beginning of 2020, it would be better to make a list of the 10 most popular K- Dramas in 2019. -
Copyright in Korea on COPYRIGHT in KOREA 2015 ANNUAL REPORT Culture, Sports and Tourism a Message from the Minister Of
Annual Report on 2015 Copyright in Korea ON COPYRIGHT IN KOREA 2015 ANNUAL REPORT Culture, Sports and Tourism Sports and Tourism Culture, of the Minister from A Message KOREA COPYRIGHT WHITE PAPER 2015 Opening message At the same time, we strengthened the domestic and overseas copyright protection and international cooperative networks to respond to new types of copyright infringement occurring with the development of digital technology. The period of access block to illegal foreign websites that are breeding grounds for copyright infringement has Congratulations on the publication of the 2015 Annual Report on Copyright. been reduced from three months to two weeks. Efforts have been taken to prevent the distribution of illegal reproductions, including planned investigations for illegal As cultural contents are creating diverse goods by converging with other fields, they links. Meanwhile, the Ministry has established a hotline between Korean and Chinese are emerging as a driving force for economic growth. Accordingly, the economic and businesses to promptly delete any illegal reproductions distributed overseas. The FTA industrial value of created works are growing, thus drawing attention to the significance procedures with China and Vietnam have been completed and we have solidified the of copyright. foundation for our copyrighted works to be protected. As the copyright industry is becoming a prospective future growth engine with higher Furthermore, various types of customized copyright education and promotions added value, its impact on the development of the nation is increasing. It is thus very targeting youth, cultural artists, and small and medium-sized enterprises (SMEs) were meaningful that the annual report is being published to organize and evaluate the results carried out actively to enhance public awareness on copyright. -
New Business Models for Music
Chicago-Kent College of Law Scholarly Commons @ IIT Chicago-Kent College of Law All Faculty Scholarship Faculty Scholarship January 2011 New Business Models for Music Henry H. Perritt Jr. IIT Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://scholarship.kentlaw.iit.edu/fac_schol Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Henry H. Perritt Jr., New Business Models for Music, 18 Vill. Sports & Ent. L.J. 63 (2011). Available at: https://scholarship.kentlaw.iit.edu/fac_schol/480 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. \\jciprod01\productn\V\VLS\18-1dr\vls102.txt unknown Seq: 1 7-MAR-11 11:02 NEW BUSINESS MODELS FOR MUSIC HENRY H. PERRITT, JR.* I. INTRODUCTION ....................................... 65 R II. THE PROBLEM ........................................ 70 R A. The Old Model .................................. 72 R 1. Recorded Music ............................. 72 R 2. Live Performances ........................... 84 R 3. Publishing ................................... 86 R B. Effects of Technology’s Latest Revolution ........ 87 R 1. Effects of the Demise of the CD ............. 88 R 2. Limited Potential of Downloadable Digital Files ......................................... 89 R 3. Potential of Live Performances .............. 91 R C. Law’s Role....................................... 93 R III. WHO MAKES MUSIC NOW? WHY AND HOW?........... 96 R A. -
Idolizing Consumption
Idolizing Consumption An Exploration of the K-pop Albums’ Relevance in a Digital Age A Master’s Thesis for the Degree of Master of Arts (120 credits) in Visual Culture Wibecka Oliver Division of Art History and Visual Studies Department of Arts and Cultural Sciences Lund University KOVM12, Master Thesis, 30 credits Supervisor: Peter Bengtsen Spring semester 2020 Acknowledgements I would like to thank my supervisor Peter Bengtsen for his patience and guidance during every step of the writing process. I would also like to thank my colleague Fannie Baden, as well as my good friends Elizabeth Trout Elmore and Jacqueline Graham for their endless encouragement. I wish to thank my parents Kiki and Dale Oliver for their unwavering support, as well as my partner Dominic Ninmark, for always being willing to listen and reminding me to take breaks. Lastly, thank you to my dog, Loki Alfred Oliver for being the best study partner, confidante and writing companion anyone could ask for. I could not have completed this thesis without each and every one of you. ii Abstract This thesis looks into the rise of the K-pop album, examining how physical CDs retain relevance in a digital age. Concepts of collectability, authenticity and the gaze are explored in relation to these unique products. The relationship between consumer and K-pop ‘idol’ is understood through a semiotic breakdown of visual narratives within the product, in conjunction with the reimagined structure of the albums as a whole. Developments in merchandising have created a physical product that offers something entirely different from its practical usage; rather than buying just a physical CD, fans are purchasing a chance to connect with the idols on what is perceived to be a more personal level. -
Pop Cultures: a Comparative Analysis of the American and South Korean Record Industries
POP CULTURES: A COMPARATIVE ANALYSIS OF THE AMERICAN AND SOUTH KOREAN RECORD INDUSTRIES by Kanel Marchand A Thesis Proposal Submitted to the Faculty of College of Business In Partial Fulfillment of the Requirements for the Degree of Master of Science Florida Atlantic University Boca Raton, FL May 2017 Copyright 2017 by Kanel Marchand ii ACKNOWLEDGEMENTS I wish to express my utmost gratitude to my committee members not only for their guidance and encouragement throughout the research and writing process of this manuscript, but also for the knowledge and support they have provided as professors in the Music Business Administration program. Your service is invaluable. I also wish to thank the Florida Atlantic University staff and faculty, in particular my advisor Dr. Marc Rhorer, for their assistance during my graduate career. iv ABSTRACT Author: Kanel Marchand Title: Pop Cultures: A Comparative Analysis of the American and South Korean Record Industries Institution: Florida Atlantic University Thesis Advisor: Dr. Ira Abrams Degree: Master of Science Year: 2017 As the oldest recording industry in the world, the United States has set industry standards regarding record labels, publishing, live entertainment and music services. Since the beginning of the 20th century, American music has become a staple in worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music industry has held the number one position in the ranking of the world’s top 10 largest music markets since its first record label, Columbia Records, was founded in 1887. However, a relatively new genre of music is rapidly taking over the world’s pop music scene: South Korean pop music, otherwise known as K-pop. -
The Digital Transformation of the Korean Music Industry and the Global Emergence of K-Pop
sustainability Article The Digital Transformation of the Korean Music Industry and the Global Emergence of K-Pop Jimmyn Parc 1 and Shin Dong Kim 2,* 1 Paris School of International Affairs (PSIA), Sciences Po Paris, France and Institute of Communication Research, Seoul National University, Seoul 150599, Korea; [email protected] 2 Media School, Hallym University, Chuncheon 24252, Korea * Correspondence: [email protected] Received: 13 August 2020; Accepted: 15 September 2020; Published: 21 September 2020 Abstract: There are a number of voices who blame digitization for having a number of negative effects on the music industry including a decline in album sales, copyright infringement, unfair royalty payments, and competition with foreign multinationals. Yet, the global emergence of Korean pop music or K-pop suggests a different narrative, particularly given that its growth was largely unexpected among industry experts. Understanding the key to its international breakthrough can thus produce meaningful lessons for the music industries of other countries for their own further take-off. This constitutes the focus for this paper. Digitization has influenced various sectors of the Korean music industry such as business, society, and consumers. It has also transformed the management focus of the industry from analog to digital, from offline to online, from albums to songs, from specialization to integration, from domestic providers to international suppliers, from audio sound to visual images, from possessing to accessing, and from limited integration to synergistic network. This signifies that embracing technology advancement can enhance the competitiveness of cultural industries. Keywords: digitization; digital transformation; K-pop; Korean music industry; Hallyu; Korean wave; cultural industries In recent years, a number of voices in the music industry have blamed online streaming services like Spotify (Stockholm, Sweden) and YouTube (San Brino, CA, USA) for having a negative effect globally on the music business. -
Kpop-Textbook.Pdf
Chapter 1: What is Kpop? K-pop (an abbreviation of Korean pop or Korean popular music) is a musical genre consisting of electronic, hip hop, pop, rock, and R&B music originating in South Korea. In addition to music, K-pop has grown into a popular subculture among teenagers and young adults throughout Asia, resulting in widespread interest in the fashion and style of Korean idol groups and singers. Kpop is . Culture One of the more problematic cultural aspects of Kpop is perfection. It’s like taking a mold and using it to shape young men and women into what they’re “supposed to look like.” Plastic surgery is acceptable and in most cases, preferable. It’s not an idea exclusive to the music industry; it’s a lesson taught starting in the home. Image is everything. The rich working class lifestyle is a goal that needs to be achieved. The pressures of achieving perfection – working hard, studying endlessly, and deconstruction of the face and body – are an everyday thing But Kpop also highlights everything that is amazing about Korean culture. There’s a term called the Hallyu Wave, which represents all of Korean pop culture: the music, the dramas, the beauty/skincare, the food, the traditional clothing, the importance of family and respect, and the history behind this beautiful country. For fans like me, there is no better feeling in the world than to see these artists live out their lives as happily as they can. I love to feel the music lift me up from the day’s chaos and give me the strength to set one foot in front of the other.