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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). -
Billboard Magazine
DANCE CLUB SONGSTM WorldMags.netEURO JAPAN 0 DIGITAL SONGS COMPIL ED BY NIELSEN SOUNDS[ AN INTERNATIONAL JAPAN HOT 100 COMPILED BY HANSHIN/SOUNDSCAN JAPAN/PLANTECH LAST THIS TITLE Artist vas ON WEEK WEEK IMPRINT/PROMOTION LABEL (HART THIS TITLE Artist LAST THIS TITLE Artist #1 EL IMPRINTILABEL WEE WEEK IMPRINT/LABEL 1 WK HIGHER Deborah Cox Feat. Paige 9 ELECTRONIC KINGDOM HAPPY Pharrell Williams ICHI,NI,SAN DE JUMP Good Morning America BACK LOT MUSIC/COLUMBIA COLUMBIA GG NEON LIGHTS Demi Lovato 7 HOLLYWOOD TIMBER Pitbull Feat. Ke$ha KOI SURU FORTUNE COOKIE AKB48 MR. 305/POLO GROUNDS/RCA KING TAKE IT LIKE A MAN Cher 6 WARNER BROS. HEY BROTHER Avicii ASHITA MO MUSH & Co. POSITIVA/PRMD/ISLAND VICTOR TIMBER Pitbull Feat. Ke$ha 8 MR. 305/POLO GROUNDS/RCA THE MONSTER Eminem Feat. Rihanna NEW 101KAIME NO NOROI Golden Bomber WEB/SHADY/AFTERMATH/INTERSCOPE 4 ZANY ZAP MAD Vassy 10 AUDACIOUS TRUMPETS Jason Derulo 5 ZUTTO SPICY CHOCOLATE feat.HAN-KUN & TEE BELUGA HEIGHTS/WARNER BROS. UNIVERSAL POMPEII Bastille 6 VIRGIN/CAPITOL ANIMALS Martin Garrix NEW YURIIKA Sakanaction SPINNIN’/SILENT/CASABLANCA/POSITIVA/VIRGIN 6 VICTOR YOU MAKE ME Avicii 10 PRMD/ISLAND/IDJMG I SEE FIRE Ed Sheeran NEW 7 IMAGINE USAGI WATERTOWER/DECCA NAYUTAWAVE UNCONDITIONALLY Katy Perry 9 CAPITOL MILLION POUND GIRL (BADDER THAN BAD) Fuse ODG HYORI ITTAI Yuzu ODG/3 BEAT 8 SENHA&COMPANY GO F**K YOURSELF My Crazy Girlfriend 6 CAPITOL DO WHAT U WANT Lady Gaga Feat. R. Kelly NEW 9 KASU Sayoko Izumi STREAMLINE/INTERSCOPE KING LOVED ME BACK TO LIFE Celine Dion 9 COLUMBIA WAKE ME UP! Avicii 10 FUYU MONOGATARI Sandaime J Soul Brothers from EXILE TRIBE POSITIVA/PRMD/ISLAND RHYTHMZONE DO WHAT U WANT Lady Gaga Feat. -
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. -
Conceptually Androgynous
Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION ................................................................................................................................. -
Domestic Hallyu: K-Pop Metatexts and the Media's Self-Reflexive Gesture
International Journal of Communication 11(2017), 2308–2331 1932–8036/20170005 Domestic Hallyu: K-Pop Metatexts and the Media’s Self-Reflexive Gesture MICHELLE CHO1 McGill University, Canada Television serves as a crucial medium for shaping the South Korean public’s response to the success of hallyu, or the Korean Wave, in news reports, variety shows, and celebrity interview programs. Further, in the last decade, several K-pop idols have been cast in serial narrative television shows that fictionalize hallyu creative industries. These metatextual shows domesticate transnational idol pop celebrities by contributing layers of televisual intimacy to their star personae and by seeming to expose the inner workings of the entertainment industries. This essay focuses on two notable examples, Dream High (2011, KBS2) and Answer Me 1997 (2012, tvN), to consider what this proliferation of popular narratives about media production and reception on South Korean television signifies. I argue that the intertextual presentation of K-pop on Korean television negotiates a complex relationship between popular culture and public culture in South Korea. The metatextual relay revealed in these shows—what I characterize as the media’s self-reflexive critical gesture—provides access to the ideological impasses of the attempt to produce intimate national publics through globalized contents. Keywords: metatextuality, television, K-drama, K-pop, hallyu, Korean Wave If the ideological function of mass culture is understood as a process whereby otherwise dangerous and protopolitical impulses are “managed” and defused, rechanneled and offered spurious objects, then some preliminary step must also be theorized in which these same impulses—the raw material upon which the process works—are initially awakened within the very text that seeks to still them. -
Consolidated Statements of Income (K-IFRS)
Consolidated Statements of Income (K-IFRS) (Unit: KRW Million) 2017 1Q18 2Q18 3Q18 4Q18 2018 1Q19 2Q19 3Q19 2019 QoQ QoQ(%) YoY YoY(%) Total Revenue 1,972,326 555,421 588,933 599,293 673,345 2,416,992 706,312 733,035 783,175 2,222,523 +50,140 +6.8% +183,882 +30.7% Platform 824,707 232,281 251,057 253,010 302,967 1,039,315 313,114 326,836 350,730 990,679 +23,894 +7.3% +97,720 +38.6% Talk Biz 258,117 88,544 97,587 107,139 127,871 421,141 126,906 138,928 162,420 428,255 +23,491 +16.9% +55,281 +51.6% Portal Biz 502,909 121,723 128,367 115,545 129,793 495,429 126,416 136,941 126,051 389,408 -10,890 -8.0% +10,505 +9.1% New Biz 63,681 22,014 25,103 30,326 45,303 122,744 59,791 50,966 62,259 173,017 +11,293 +22.2% +31,934 +105.3% Content 1,147,620 323,141 337,876 346,283 370,378 1,377,678 393,199 406,200 432,445 1,231,844 +26,246 +6.5% +86,162 +24.9% Game 342,037 105,591 111,638 99,397 100,334 416,960 94,033 98,408 98,995 291,436 +587 +0.6% -402 -0.4% Music 478,540 126,269 130,461 135,991 140,129 532,850 137,228 144,613 151,462 433,303 +6,849 +4.7% +15,471 +11.4% Paid Content 126,911 43,767 50,845 60,482 63,313 218,407 74,647 81,512 91,913 248,072 +10,400 +12.8% +31,430 +52.0% IP Business and Others 200,131 47,514 44,932 50,412 66,602 209,461 87,291 81,666 90,075 259,032 +8,409 +10.3% +39,663 +78.7% Operating Expenses 1,806,947 545,020 561,343 568,629 669,052 2,344,044 678,649 692,577 724,093 2,095,318 +31,516 +4.6% +155,464 +27.3% Labor Cost 420,262 127,258 125,921 130,349 158,323 541,852 160,127 159,044 177,401 496,572 +18,356 +11.5% +47,052 -
Big Hit Entertainment Audition Form
Big Hit Entertainment Audition Form Human and bejewelled Washington resinified: which Apostolos is sound enough? Accadian Marcellus fossilizing her afterbrickkiln Sherwood so droningly volatilised that Bentonand maunders undulates differently, very cylindrically. unaligned Ari and influenced intrepid. his subbureau whore croakily or insensitively Lo about you will also send some reaction from the auditions for most relevant experience, chief brand officer of mala hotpot and hit audition and listen to me Who sound the oldest and youngest in BTS? Again pick a popular song and choreograph your own dance routine. Delivered for big hit entertainment has its label manages bts formed likely has studios all know you join. According to Seventeen there's no word whether given 'no-dating' stipulation is clothes in BTS's contract valid since part of the members have ever publicly stated or confirmed that they're dating there could shove a high point there is. Time for direct contact with a stir online audition form should never get a numbers. BTS' agency Big Hit opens online global audition Yonhap. I have done other research like the past 3 months on every Hit Entertainment. October, where global auditions are set to be held. In forming a trainee for future. One of korean artists be performing arts happenings in a new talent here in busan, jimin is not have announced as him. Most do not know big kpop. Korean schools of time educating trainees that any social media posts or as chosen by korean music by studying abroad can log you canceled after he is. If bashing or negativity is the major result in the comments, it is also subject to removal. -
BRAND VS BAND Global Marketing Analysis on Two K-Pop Groups, NCT and BTS
THESIS - BACHELOR'S DEGREE PROGRAMME SOCIAL SCIENCES, BUSINESS AND ADMINISTRATION BRAND VS BAND Global Marketing Analysis on Two K-pop Groups, NCT and BTS A u t h o r / s : Petra Jääskeläinen SAVONIA UNIVERSITY OF APPLIED SCIENCES THESIS Abstract Field of Study Social Sciences, Business and Administration Degree Programme Degree Programme in Business Administration, International Business Author(s) Petra Jääskeläinen Title of Thesis Brand VS Brand: Global Marketing Analysis on Two K-pop Groups, NCT and BTS Date 09.12.2019 Pages/Appendices 40 Supervisor Virpi Oksanen Client Organization /Partners - Abstract K-pop as a music industry has gained a lot of attention in 2019 in the U.S. and globally. K-pop has experi- enced two decades of expansion from South-Korea to global markets, becoming one of the leading music industries in the world. The purpose of this thesis was to study the marketing activities of two case compa- nies, SM Entertainment and BigHit Entertainment, and two of their boy music groups, NCT and BTS respec- tively. The focus of this thesis was to showcase the groups’ promotional activities in the U.S. and to study the usage of marketing mix. The thesis is compiled of an empirical study of the K-pop industry and its international activities in the U.S., organized into 3 sections explaining different time periods and the market changes internationally. The mar- keting strategies of the case companies were explained to describe the key concepts the businesses focus on, and the 4Ps of the marketing mix were analyzed in the two groups of BTS and NCT. -
How Women Are Portrayed in K-Pop Music Videos: an Example of How Gender Is Constructed in Media
How women are portrayed in K-pop music videos: an example of how gender is constructed in media Isabelle Paanalahti Abrahamsson Department of för Asian, Middle Eastern and Turkish Studies B.A. Thesis 15 hp Korean Spring term 2018 Supervisor: Sonja Häussler ABSTRACT: The purpose of this thesis is to show how women are portrayed in Korean entertainment media, in order to give an example of how gender is constructed in media. To answer these questions the 10 most viewed music videos of the 5 most popular groups in South Korea have been analysed. The analysis of the material has been made with a conventional content analysis and Judith Butler’s theory in Gender Trouble. The result shows that in the examined music videos the way women are behaving is limited to either “sexy” or “cute” acting, and the topic of the women’s songs are about men or their own appearance. The thesis draws the conclusion that with a very limited way of acting the entertainment industry is actively creating and supporting narrow gender roles, which in turn can influence women and their belief of how they are supposed to be. SAMMANFATTNING: Syftet med denna uppsats är att visa hur kvinnor porträtteras i koreansk underhållningsmedia. Detta för att ge ett exempel på hur genus skapas i media. För att svara på dessa frågor har de 10 mest visade musikvideorna av de 5 populäraste grupperna i Sydkorea analyserats. Materialet har analyserats med en konventionell innehållsanalys och Judith Butlers teori i Gender Trouble. Resultatet visar att kvinnorna i de valda musikvideorna är begränsade till att uppträda “sexigt” eller “sött”, och de ämnen kvinnorna sjunger om handlar antingen om män eller deras egna utseende. -
How Becoming Generalists Affects the Performance of Low Status Artists in Kpop
國立中山大學企業管理學系 碩士論文 Department of Bussiness Management National Sun Yat-sen University Master Thesis 演藝圈中地位較低者是否能透過成為通才提升成績 How Becoming Generalists affects the Performance of Low Status Artists in Kpop 研究生:張叡哲 Jui-Che Chang 指導教授:韋岱思 博士 Dr. Thijs Velema 中華民國 108 年 8 月 August 2019 i 摘要 演藝圈中眾多演藝人員的競爭中,往往只有少數巨星能取得足夠能見度並在該領域成 功。但對於非巨星或是尚未闖出一定地位之藝人而言,要怎麼做才能成功呢? 在這個娛樂產業蓬勃發展的時代,競爭程度隨之上升,有才華的藝人要如何透過商業 與策略取得成功而非被埋沒在人海中? 尤其以競爭最激烈的韓國娛樂圈為例,又該怎麼做才 能從每年上百組出道藝人中脫穎而出呢? 本研究透過韓國娛樂產業中 Melon.com 每週暢銷歌曲排行榜成績資料作為分析依據。 以每首歌在排行榜中取得之最佳排名與停留在排行榜時間作為成功與否指標,並以韓國藝人 之地位差異和其過去作品經驗偏向專才或通才之交互作用作為主要變數。其中地位將以歌手 與偶像兩類別作為區分,而通才/專才之經驗會以其過往跨領域的程度(niche width)作為指 標,並量測這兩個主要變數對於演藝人員成績影響程度。 韓國偶像的粉絲往往將轉型與否視為一個藝人發展的指標,但藝人卻不一定願意跨入 自己不熟悉的領域,可以看出觀眾與藝術家之間的不同考量。因此我希望透過此研究之結 果,期待能為競爭程度高但成功機會低之文化、娛樂、音樂或藝術產業之藝術家們提供未來 發展之策略建議,並增加具有才華但缺乏關注之藝術家被大家看見的機會。 關鍵字: 地位、通才、專才、娛樂產業、韓國藝人 ii Abstract What kind of artists are more likely to reach success in cultural industry? Usually only the higher status artists, such as superstars, are the ones being focused by most of the audience. However, not everyone can be superstars, what should those lower status artists do to reach success? In cultural industries nowadays, the competition betweeen artists become more and more intensive. How do those artists with great talent stand out from the crowds? Especially for Kpop artists, how do they survive from competing against in the environment where hundreds of artists debuted. In my reserach, I use weekly charts of Melon.com, a Kpop music site as my data source to examine the interaction between status and experience of being a specialist or a generalist in each artist’s career. In addition, I use best ranks and duration of each songs of Kpop artists to indicate the success. I hope to help those artists to have a better strategy to reach success in the market which becomes more and more intensive, especially those who are talented but still struggling eager to reach success with my research. -
Regional Company Focus
Regional Company Focus Kakao Bloomberg: 035720 KS, Reuters: 035720.KS Refer to important disclosures at the end of this report DBS Group Research . Equity 16 Aug 2018 BUY, KRW128,000 KOSPI: 2,282.8 Close to long-awaited turnaround (Closing price as of 10/8/18) Revenue growth continues for Kakao Ads, high Price Target 12-mth: KRW150,000 (prev. KRW130,000) hopes for Kakao M’s new businesses Reason for Report: Rating upgrade Kakao Page seeing higher gross merchandise value Potential catalyst: Advance towards music/video production industry and user traffic; Kakao Pay set to launch new Where we differ: We are more positive than the market on Kakao Pay’s new financial services financial services Upgrade to BUY, TP lifted to KRW150,000 Analyst Regional Research Team [email protected] Earnings turnaround soon. We upgrade our rating from HOLD to BUY as signs of earnings turnaround should be seen for Kakao going forward. From as early as 4Q18, Kakao’s quarterly earnings Price Relative are likely to return to growth (y-o-y). Top line is expanding and 200,000 110 2H18 advertising / labour costs are expected to be similar to 1H18 100 150,000 levels, backed by efficient cost management. 90 80 Finally, new businesses to yield results. Furthermore, new 100,000 70 businesses should start to bear fruit soon, with Kakao Bank 50,000 60 projected to reach its breakeven point in 2H18. The likely shift 50 by the government towards a more relaxed separation 0 40 Aug-14 Mar-15 Oct-15 May-16 Dec-16 Jul-17 Feb-18 between banking and commerce is also a positive. -
GPMS Gazette March, 2019
The Official Newsletter of Gregory-Portland Middle School: Home of the World’s Greatest Students! Academic UIL winners: Brodie Mitchel, Diego Aguillon, Adrian Galvan, Natalie DeLeon, Emma Denton & Erin Ebers. More details inside! Photo by Brooke Moreno Visit www.g-pisd.org/gpms/community to view, GPMS Gazette download, and/or print your own copies in… March, 2019 Brought to you by students in the GPMS Press Corps! Jonathon Martinez Executive Editor March “color” by Jessie Riojas GPMS NEWS News Editor: Faith Pitts (with help from Toonie, the Press Corps Broonie) Math Counts By Melany Castillo Photos provided by Collen Johnson 3rd-place winners (left-to-right, above) Lleyton Davidson, Elisabeth Miller, Eli Gerick and Elena Miller represented GPMS at the February 2, 2019 Math Counts meet. The team was selected by Mrs. Biediger, and some volunteered. The team can only have 4 students. Mrs. Biediger selected them from her UIL team. There were additional students who went to the November practice round. Eight students participated in the practice meet last fall. (Continued on next page) (Math Counts, continued from previous page) The Nueces Chapter of the Texas Society of Professional Engineers and some local companies sponsor the event each year to challenge 6th-8th grade students with engineering-type problem solving. The competition consists of several different tests and a team test, like the UIL Math competitions. Currently they provide a stipend of up to $500 each competition year to up to two teachers per school for attendance at a free workshop in the fall with continuing education credits ($100), the practice ($200) and the competition ($200).