JYP Entertainment Buy (035900 KQ ) (Maintain)

Total Page:16

File Type:pdf, Size:1020Kb

JYP Entertainment Buy (035900 KQ ) (Maintain) [Korea] Entertainment March 19, 2021 JYP Entertainment Buy (035900 KQ ) (Maintain) Firming up TP: W47,000 Upside: 33.5% Mirae Asset Daewoo Co., Ltd. Jeong -yeob Park [email protected] 4Q20 review Consolidated revenue of W41.7bn ( -6% YoY), OP of W10.5bn ( -22.1% YoY); in -line results In 4Q20, JYP Entertainment’s top line contracted due to the absence of concerts; however, robust album/digital content revenue provided a cushion. Due to changes in the revenue mix, royalty fees and production costs fell 6% and 12% YoY, respectively, leading to gross margin improvement (+4.4%p YoY to 54.2%). Album/digital music (+47.1% YoY): A total of 1.04mn copies were sold, including 480,000 copies for TWICE, 200,000 copies for Stray Kids, and 340,000 copies for GOT7. Management (-53.6% YoY): Concerts (-100% YoY) and advertising (-40% YoY) were hit hard by the pandemic. Merchandise/other (-26.2% YoY): YouTube revenue (W4.7bn; +102% YoY) was boosted by NiziU’s growing fan base. Despite higher SG&A expenses (labor and commissions), a shift in income source from management to content improved underlying profitability. Growing optimism on 2021 Watch for global projects and greater monetization in 2021 earnings Despite being relatively new, the group NiziU contributed W5bn to 4Q20 revenue across album sales, digital content, and YouTube. JYP Entertainment has a strong next-generation lineup (Stray Kids and ITZY) and ample new artist momentum (an audition show titled LOUD will air in May). The company is also continuing to work on its global lineup (China’s Project C, a Japanese boy band, and a new artist development partnership in the US). The share of global traffic on the company’s fast-growing YouTube channels has increased sharply to 59% (vs. 32% in 2017). We believe the continued strength of digital content will once again prove the company’s ability to increase its earnings without the help of concerts. Valuation and recommendation Maintain Buy and TP of W47,000 Our target valuation is based on a P/E of 30x our 2021 net profit attributable to owners of the parent of W54bn. Earnings worries caused by the absence of concerts are subsiding, thanks to strong content revenue. Expectations on reopening could also come into play. We think JYP Entertainment is in a sweet spot, given its cash cow (TWICE), growth profile (Stray Kids/ITZY), and global exposure (NiziU and new artists in the US/China/Japan). We recommend Buy on JYP Entertainment in light of its expanding lineup, NiziU’s growing presence, and new long-term growth engines (AR/VR, etc.). Key data Current price (3/18/21, W) 35,200 Market cap (Wbn) 1,250 270 JYP Entertainment KOSDAQ OP (20, Wbn) 44 Shares outstanding (mn) 35 220 Consensus OP (20, Wbn) 46 Free float (%) 74.9 170 EPS growth (20, %) -5.7 Foreign ownership (%) 21.3 120 P/E (20, x) 46.2 Beta (12M) 0.87 70 Market P/E (20, x) 21.2 52-week low (W) 15,350 3.20 7.20 11.20 3.21 KOSDAQ 949.83 52-week high (W) 43,250 Share performance Earnings and valuation metrics (%) 1M 6M 12M (Dec.) 2016 2017 2018 2019 2020 2021F Absolute -4.9 -12.0 102.3 Revenue (Wbn) 74 102 125 155 144 197 Relative -3.1 -17.6 3.3 OP (Wbn) 14 19 29 43 44 70 OP margin (%) 18.9 18.6 23.2 27.7 30.6 35.5 NP (Wbn) 8 16 24 31 30 54 EPS (W) 246 471 685 883 832 1,522 ROE (%) 13.4 21.4 22.5 21.9 17.2 26.0 P/E (x) 20.0 29.2 44.2 27.4 46.2 23.1 P/B (x) 2.1 4.8 7.7 5.0 7.0 5.1 Div. yield (%) 0.0 0.0 0.4 0.6 0.4 0.4 Notes: Under consolidated K-IFRS; NP is attributable to owners of the parent Source: Company data, Mirae Asset Daewoo Research estimat es Analysts who prepared this report are registered as research analysts in Korea but not in any other jurisdiction, including t he US. PLEASE SEE ANALYST CERTIFICATIONS AND IMPORTANT DISCLOSURES AND DISCLAIMERS IN APPENDIX 1 AT THE END OF REPORT. March 19, 2021 JYP Entertainment Earnings forecasts and valuation Table 1. Valuation table (Wbn, x, %) 19 20 21F Current P/E 39.1 41.4 22.7 Fair market cap 1,621 1,621 1,621 NP 31 30 54 Target P/E 51.8 54.9 30.0 Target price (W) 46,621 46,621 46,621 Upside (%) 32.4 32.4 32.4 Source: Mirae Asset Daewoo Research estimates Table 2. Quarterly and annual earnings (Wbn, %) 1Q19 2Q19 3Q19 4Q19 1Q20 2Q20 3Q20 4Q20 2019 2020 2021F Revenue 26 39 46 44 34 34 35 42 155 144 197 Album/digital content 10 15 16 17 10 22 18 24 57 75 94 Management 9 14 17 12 6 3 5 5 51 19 41 Concerts 2 5 10 5 1 0 0 0 21 1 16 Advertising 4 4 5 4 4 3 3 3 17 12 14 Appearance fees 3 4 3 3 1 1 2 3 13 6 11 Other 8 11 12 16 18 9 12 12 47 50 63 OP 5.8 9.4 14.8 13.5 13.4 9.1 11.1 10.5 43 44 70 OP margin (%) 22.0 24.1 32.4 30.4 39.6 26.5 32.2 25.2 28.0 30.6 35.4 Pretax profit 7.2 8.7 14.3 12.8 14.2 7.9 9.9 5.9 43 38 70 NP 6.3 6.9 11.7 6.2 11.3 4.7 7.7 5.9 31 30 53 Net margin (%) 24.0 17.7 25.7 14.1 33.3 13.8 22.3 14.2 20.1 20.5 26.9 NP attributable to owners of the parent 6.4 6.8 11.7 6.3 11.3 4.7 7.7 5.8 31.3 29.5 54.0 YoY Revenue 14.5 24.1 34.5 22.0 28.9 -12.8 -24.1 -6.0 24.5 -7.1 36.4 Album/digital content 1.3 39.6 18.3 6.7 8.9 50.6 10.3 47.1 16.0 31.2 25.0 Management 0.8 -5.2 79.1 -8.7 -38.8 -75.2 -70.5 -53.6 12.7 -62.3 110.0 Concerts 97.0 -33.7 150.0 16.0 -37.1 -100.0 -99.5 TTR 32.8 -94.6 1,302.5 Advertising -17.6 -4.2 19.8 23.7 -8.2 -39.9 -33.4 -40.2 3.7 -31.2 18.0 Appearance fees -4.3 69.7 47.2 -49.0 -76.3 -83.3 -23.7 10.5 -0.6 -50.4 71.4 Other 70.2 61.7 15.0 100.8 135.1 -21.6 -4.3 -26.2 56.7 6.9 25.0 OP 322.7 3.9 74.5 36.9 132.3 -3.9 -24.6 -22.1 51.2 1.6 57.9 NP 241.2 -5.2 73.7 -25.3 78.6 -32.4 -34.0 -5.2 28.6 -5.1 78.7 NP attributable to owners of the parent 249.4 -5.9 80.0 -23.1 76.3 -30.9 -34.5 -8.2 31.3 -5.6 82.9 Key assumptions Domestic album sales volume ( ‘000) 130 857 461 752 305 1,399 824 1,038 2,200 3,567 3,900 Ticket sales volume in Japan ( ‘000) 150 220 120 90 150 0 0 0 580 150 400 Notes: Under consolidated K-IFRS; ticket sales volume is based on actual timing of concerts and includes our estimates Source: Company data, Mirae Asset Daewoo Research estimates Mirae Asset Daewoo Research 2 March 19, 2021 JYP Entertainment Figure 1. Improvement in underlying profitability thanks to Figure 2. Improvement in underlying profitability thanks to strategic shift from management to content (quarterly) strategic shift from management to content (annual) (%) (%) (%) (%) 110 Contribution of non-management revenue (L) 70 110 Contribution of non-management revenue (L) 60 Gross margin (R) Gross margin (R) 100 100 90 60 90 50 80 80 70 50 70 60 60 40 50 40 50 40 40 30 30 30 30 1Q17 3Q17 1Q18 3Q18 1Q19 3Q19 1Q20 3Q20 2016 2017 2018 2019 2020 2021F Source: Company data, Mirae Asset Daewoo Research Source: Company data, Mirae Asset Daewoo Research Figure 3. JYP Entertainment’s daily YouTube views rise in line with new album releases (mn views) I Can't Stop Me (TWICE) 30 More & More (TWICE) Wannabe (ITZY) 25 Make You Not Shy (ITZY) Not by the Moon Happy (NiziU) 20 (GOT7) 15 10 Back Door Step and a Step Menu 5 神 (Stray Kids) (NiziU) (Stray Kids) 0 1/20 2/20 3/20 4/20 5/20 6/20 7/20 8/20 9/20 10/20 11/20 12/20 Source: Mirae Asset Daewoo Research Figure 4. YouTube views by label: Traffic to increase on NiziU’s growing presence (mn views) 1,200 SM (SM Town) JYP (JYP Entertainment + TWICE) 1,000 YG (YG Entertainment + BLACK PINK + iKON + WINNER) Big Hit (ibighit + BangtanTV) 800 600 400 200 0 8/15 2/16 8/16 2/17 8/17 2/18 8/18 2/19 8/19 2/20 8/20 Source: YouTube, Mirae Asset Daewoo Research Mirae Asset Daewoo Research 3 March 19, 2021 JYP Entertainment JYP Entertainment (035900 KQ) Income statement (summarized) Balance sheet (summarized) (Wbn) 2018 2019 2020 2021F (Wbn) 2018 2019 2020 2021F Revenue 125 155 144 197 Current assets 83 116 141 205 Cost of revenue 69 79 68 91 Cash & equivalents 45 39 64 97 Gross profit 56 76 76 106 AR & other receivables 13 14 13 22 SG&A expenses 27 33 33 37 Inventory 1 1 1 1 OP (adj.) 29 43 44 70 Other current assets 24 62 63 85 OP 29 43 44 70 Non-current assets 77 92 90 89 Non-operating profit 1 0 -6 0 Investments in associates 0 0 0 0 Net financial income 0 1 1 2 PP&E 37 39 39 36 Net income from associates 0 0 0 0 Intangible assets 29 29 31 31 Pretax profit 30 43 38 70 Total assets 159 208 231 294 Income tax 6 12 8 17 Current liabilities 31 43 41 55 Profit from continuing operations 24 31 30 53 AP & other payables 9 10 9 13 Profit from discontinued operations 0 0 0 0 Short-term financial liabilities 0 1 1 2 NP 24 31 30 53 Other current liabilities 22 32 31 40 Attributable to owners 24 31 30 54 Non-current liabilities 1 2 3 3 Attributable to minority interests 0 0 0 -1 Long-term financial liabilities 0 1 2 2 Total comprehensive income 24 32 30 53 Other non-current liabilities 1 1 1 1 Attributable to owners 24 32 30 53 Total liabilities 31 45 43 59 Attributable to minority interests 0 0 0 0 Equity attributable to owners 127 159 183 232 EBITDA 30 47 48 73 Capital stock 18 18 18 18 FCF 10 49 34 61 Capital surplus 71 77 77 77 EBITDA margin (%) 24.0 30.3 33.3 37.1 Retained earnings 48 76 100 149 OP margin (%) 23.2 27.7 30.6 35.5 Minority interests 1 3 4 3 Net margin (%) 19.2 20.0 20.8 27.4 Shareholders' equity 128 162 187 235 Cash flow statement (summarized) Key valuation metrics/ratios (Wbn) 2018 2019 2020 2021F 2018 2019 2020 2021F Operating cash flow 23 51 36 61 P/E (x) 44.2 27.4 46.2 23.1 NP 24 31 30 53 P/CF (x) 30.6 17.9 32.3 17.6 Non-cash income/expenses 10 16 13 18 P/B (x) 7.7 5.0 7.0 5.1 Depreciation 1 3 4 3 EV/EBITDA (x) 33.8 16.3 26.0 14.8 Amortization 0 0 0 0 EPS (W) 685 883 832 1,522 Other 9 13 9 15 CFPS (W) 988 1,346 1,189 2,001 Chg.
Recommended publications
  • Universidad Peruana De Ciencias Aplicadas Facultad
    Caracterización de los procesos de consumo de los K- Dramas y videos musicales de K-Pop, y su incidencia en la construcción de la identidad y formas de socialización en la comunidad Hallyu de Lima. Una aproximación desde los fenómenos de audiencia en K-Dramas Descendants of the Sun y Goblin: The Lonely and Great God, y los fenómenos de tendencia musical de los grupos BIG BANG y Bangtan Boys; Beyond The Scene a.k.a BTS Item Type info:eu-repo/semantics/bachelorThesis Authors Mosquera Anaya, Heidy Winie Publisher Universidad Peruana de Ciencias Aplicadas (UPC) Rights info:eu-repo/semantics/openAccess; Attribution- NonCommercial-ShareAlike 4.0 International Download date 10/10/2021 11:56:20 Item License http://creativecommons.org/licenses/by-nc-sa/4.0/ Link to Item http://hdl.handle.net/10757/648589 UNIVERSIDAD PERUANA DE CIENCIAS APLICADAS FACULTAD DE COMUNICACIONES PROGRAMA ACADÉMICO DE COMUNICACIÓN AUDIOVISUAL Y MEDIOS INTERACTIVOS Caracterización de los procesos de consumo de los K-Dramas y videos musicales de K-Pop, y su incidencia en la construcción de la identidad y formas de socialización en la comunidad Hallyu de Lima. Una aproximación desde los fenómenos de audiencia en K-Dramas Descendants of the Sun y Goblin: The Lonely and Great God, y los fenómenos de tendencia musical de los grupos BIG BANG y Bangtan Boys; Beyond The Scene a.k.a BTS. TESIS Para optar el título profesional de Licenciado en Comunicación Audiovisual y Medios Interactivos AUTOR(A) Mosquera Anaya, Heidy Winie (0000-0003-4569-9612) ASESOR(A) Calderón Chuquitaype, Gabriel Raúl (0000-0002-1596-8423) Lima, 01 de Junio de 2019 DEDICATORIA A mis padres Abraham y Luz quienes con su amor, paciencia y esfuerzo me han permitido llegar a cumplir hoy un sueño más.
    [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]
  • JYP Entertainment (035900 KQ ) Margin Recovery in 3Q19 Will Be Key
    JYP Entertainment (035900 KQ ) Margin recovery in 3Q19 will be key Entertainment 2Q19 review: OP slightly misses expectations, at W9.4bn Results Comment For 2Q19, JYP Entertainment announced consolidated revenue of W39.2bn (+24.1% YoY; all growth figures hereafter are YoY) and operating profit of W9.4bn (+3.9%). Operating profit was August 16, 2019 slightly below our estimate (W10.3bn) and the consensus. Revenue growth continued to be driven by the content (+40% for album/digital music) and global digital (+52% to W1.3bn for YouTube revenue) segments , and the monetization of new artists also gained traction. That said, margins contracted due to increased artist royalties and management costs (gross margin fell 4.6%p to 43.7%). While the decline was modest, these costs are affected by a (Maintain) Buy number of factors, including the terms of individual artist contracts, leverage effects from album sales, and overseas schedules. We advise keeping a close eye on any structural changes Target Price (12M, W) ▼ 28,000 through 3Q19, when revenue from TWICE’s dome tour is likely to be recognized. Share Price (08/14/19, W) 18,800 Album/digital music revenue grew 40% to W14.7bn. Album sales included 400,000 copies of TWICE’s new album, 300,000 copies of GOT7’s mini album, and 160,000 copies of Stray Kids ’ special album. Global digital music revenue grew 54% to W2bn, which included sales from the Expected Return 49% distribution partnership with The Orchard (less than W0.3bn). Concert revenue dipped 34% to W4.7bn, as attendance declined as a result of the absence of TWICE and GOT7 concerts in Japan.
    [Show full text]
  • The Korean Internet Freak Community and Its Cultural Politics, 2002–2011
    The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 by Sunyoung Yang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Anthropology University of Toronto © Copyright by Sunyoung Yang Year of 2015 The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 Sunyoung Yang Doctor of Philosophy Department of Anthropology University of Toronto 2015 Abstract In this dissertation I will shed light on the interwoven process between Internet development and neoliberalization in South Korea, and I will also examine the formation of new subjectivities of Internet users who are also becoming neoliberal subjects. In particular, I examine the culture of the South Korean Internet freak community of DCinside.com and the phenomenon I have dubbed “loser aesthetics.” Throughout the dissertation, I elaborate on the meaning-making process of self-reflexive mockery including the labels “Internet freak” and “surplus (human)” and gender politics based on sexuality focusing on gender ambiguous characters, called Nunhwa, as a means of collective identity-making, and I explore the exploitation of unpaid immaterial labor through a collective project making a review book of a TV drama Painter of the Wind. The youth of South Korea emerge as the backbone of these creative endeavors as they try to find their place in a precarious labor market that has changed so rapidly since the 1990s that only the very best succeed, leaving a large group of disenfranchised and disillusioned youth. I go on to explore the impact of late industrialization and the Asian financial crisis, and the nationalistic desire not be left behind in the age of informatization, but to be ahead of the curve.
    [Show full text]
  • Jyp Entertainment Audition Requirements
    Jyp Entertainment Audition Requirements Jeffry motivates her scoliosis grumly, she polemizes it dissuasively. Spagyric Marion usually pulsating verysome troubledly. wavey or overexpose analogically. Confederative Ferd tumefied moistly, he spots his noddles Choose out there are companies go to be sad it is judging and entertainment audition application form but it meant i even be Asian that convert what it takes to task an SM trainee. Some trainees who are students would start training right music school which can notwithstanding even harder since they ease their classes in school system then its also have done take classes in singing and dancing. Especially after two recent Burning Sun scandal, it is important to uphold a low profile on social media accounts. Poll: Who Is justice Best Vocalist in æspa? Just audition, and give miss a try! You asked about flight tickets and tourist drivers. Go to practice together starting april. Facing forward, cabin door mall just walked through chain to my oral and directly to worsen right, until another door. The audition is open to highlight male teenager who can dance, sing, rap, compose lyrics or amount any musical instruments. Reddit on growing old browser. You can only improve my fan club on the Amino app. Some crew try simply find it different a relationship or roll money those in whatever career. Please please choose a thought it said in jyp entertainment audition requirements to become the overall outlook of this article has a money or deal but this. Once an Entertainment company takes you in, law will be up to stand how they reject you need look.
    [Show full text]
  • MIT Scientists Find God, Paper Awaits Peer Review Process
    WEATHER MIT’s Most Time- WED: 31°F | 28°F Spanning Newspaper Snow THU: -10°F | -14°F More Snow your.mit.edu FRI: -460°F | -460°F Armageddon Eon ∞, Era -1 Wednesday, December 13, 2017 MIT scientists fi nd God, paper awaits peer review process All biology professors everywhere fi red, Course 7 dissolved for good By Histopher Chritchens college that has less of a focus on STAFF ATHEIST engineering. When asked about the nature In a cruel twist of fate, two soph- of God, the project lead had very omores from MIT’s Department of few comments to make. “Mostly,” Chemistry announced early Mon- she says, “we know God is big. Like day morning that they had found very, very big. And he is also out of God. fucks.” In a paper submitted to Nature, When asked for exact numbers, the chemists draw up the proof that she showed us the fi rst miracle that came to them when they were try- led them to the important discov- ing to solve an extra credit problem ery. She told us that originally they in their biochemistry problem set. computed the total mass, volume, Th e international scientifi c and number of the fucks God has community has been shaken by for humankind. Miraculously, they the discovery, which many experts all came out to be the same num- LUCY FERR—THE FUTURE TECH are calling legitimate. Th e two ber: zero. The Great Dome was replaced Tuesday with a spaghetti strainer in honor of His Noodly Appendage after re- sophomores responsible for it sub- searchers con rmed His existence Monday morning.
    [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]
  • Alumni After Berklee 2017
    VALENCIA GRADUATE ALUMNI AFTER BERKLEE Survey and personal outreach data - Spring 2017 The campus in Valencia celebrates this year its 5th anniversary having graduated 4 classes of master’s programs with a total of 441 alumni. The results in this report are based on the data gathered from an alumni survey and personal outreach which in total counts the information of 74% of the total body of Valencia graduate alumni from all four graduation years as of Spring 2017. Active in the Music Industry Overall, we find that 90% of the Valencia graduate alumni are currently working in the entertainment industry. Of these, 55% are employed and 42% are self-employed/freelance. The remaining are either studying, unemployed or working in other industries. Areas of the Industry by Program Most alumni are working within their area of study: 73% of the scoring alumni are working with composition; 60% of the business alumni work in the entertainment business; 44% of the MPTI alumni work in production and/or technology; and 48% of the performance alumni work in performing arts. Education is the second most frequented area of the industry for both performance and technology students. INTERNATIONAL CAREER CENTER - BERKLEE COLLEGE OF MUSIC 1 Alumni around the Globe After four years of graduating students, we now have alumni working in 44 different countries around the world. USA is the most popular country with 42% of the alumni working there and Spain is second with 13% of the alumni body. Within the US, the most Berklee-populated states are California with 33% and New York with 16%.
    [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]
  • Showboxatcannes 2011
    SHOWBOX AT CANNES 2011 CONTACT IN CANNES LERINS R3-S2 T +33 (0)4 92 99 33 26 EXECUTIVE ATTENDEES Judy AHN Head of Int’l Business • Sales & Acquisitions M +33 (0)6 76 22 89 41 E [email protected] SooJin JUNG General Manager • Sales M +33 (0)6 88 02 04 61 E [email protected] Sonya KIM Manager • Sales & Festival M +33 (0)6 08 50 72 51 E [email protected] June LEE Manager • Acquisitions M +33 (0)6 72 64 91 26 E [email protected] Eugene KIM Int’l Marketing M +33 (0)6 74 61 63 95 E [email protected] HIGHLIGHTS THE YELLOW SEA Genre Action, Thriller Running Time 140 min (International Version) Release Date Dec 23, 2010 Directed by NA Hong-jin (THE CHASER) Starring HA Jung-woo (THE CHASER / TAKE OFF) KIM Yun-seok ( T H E C H A S E R / W O O C H I ) Co-presented by Showbox / Mediaplex Fox International Productions On the Chinese side of Chinese-Russian-North Korean border, there is a region where North Korea, China and Russia meet is known as Yanbian Korean Autonomous Prefecture. The film tells a story of a man from here, who embarks on an assassination mission to South Korea in order to pay off his mounting debt. He is only given some money in advance and takes on the job without knowing much about his target. However, he is endangered by a FESTIVAL / MARKET SCREENINGS series of conspiracy and betrayal, and eventually realizes that he is TO BE ANNOUNCED tricked into a vicious trap.
    [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]
  • Box Office 0121 704 6962
    spring 2019 4 1 E G PA E SE - E RN O TH LA UL VE TE : S O OT , PH BOX OFFICE 0121 704 6962 KID UR Y: O AILE thecoretheatresolihull.co.uk EN B STEPH 2 The cOre experience! What a packed season the Autumn has been, and it’s not over yet. Although the Spring season is just around the corner, our pantomime is just taking off and we are delighted to be partnered this year by Little Wolf Productions, an award- winning company who usher us into a new era of panto in Solihull with Sleeping Beauty which opens on Friday 14 December. With plenty of gift ideas for family and friends, we highly recommend giving tickets as gifts as everyone looks forward to a night out and our Box Office team pride themselves on having a show to suit everyone from 3 to 103! Take a glance opposite and don’t forget Valentine’s Day, Mother’s Day and Easter are just a few weeks away. Spring 2019 will be the season of ‘taking part’ at this venue, with plenty of new opportunities for all ages, why not try our new Monday morning Gentle Yoga class to wake up your week, join our Community Choir on Thursdays at lunchtime. For young people we have a new Saturday Art Club in the Courtyard for ages 8 - 14 years or get your whole family booked up for our very first Solihull Bookfest , from the organisers of the popular Bournville Bookfest, which attracts the very best names in family literature and all things books (see page 13).
    [Show full text]