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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. -
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%. -
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). -
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. -
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. -
Gender Discrimination in the K-Pop Industry
Journal of International Women's Studies Volume 22 Issue 7 Gendering the Labor Market: Women’s Article 2 Struggles in the Global Labor Force July 2021 Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry Liz Jonas Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Jonas, Liz (2021). Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry. Journal of International Women's Studies, 22(7), 3-18. Available at: https://vc.bridgew.edu/jiws/vol22/iss7/2 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2021 Journal of International Women’s Studies. Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry By Liz Jonas1 Abstract This paper explores the ways in which the idol industry portrays male and female bodies through the comparison of idol groups and the dominant ways in which they are marketed to the public. A key difference is the absence or presence of agency. Whereas boy group content may market towards the female gaze, their content is crafted by a largely male creative staff or the idols themselves, affording the idols agency over their choices or placing them in power holding positions. Contrasted, girl groups are marketed towards the male gaze, by a largely male creative staff and with less idols participating. -
Creative Industries in South Korea: the Korean Wave
CREATIVE INDUSTRIES IN SOUTH KOREA: THE KOREAN WAVE Author: Nicoleta Stefanÿ Valean Tutor: Francesc Xavier Molina Morales DEGREE IN BUSINESS ADMINISTRATION AE1049 - FINAL PROJECT WORK ACADEMIC YEAR: 2016/2017 CREATIVE INDUSTRIES IN SOUTH KOREA: THE KOREAN WAVE TABLE OF CONTENTS INTRODUCTION 3 1. CREATIVE INDUSTRY 5 1.1. Definition. 5 1.2. Origin. 5 2. SOUTH KOREA 6 2.1. The history of Korea. 6 2.2. Hallyu: The Korean Wave 9 2.3. Aspects related to Hallyu 13 2.3.1. Industry Policy 14 2.3.2. Hallyu’s Kdramas approach 15 2.3.3. Hallyu and National Prestige 16 2.3.4. Market Segmentation 18 3. KOREAN POPULAR CULTURE 20 3.1. Korean television and Kpop 20 3.2. The Big Three: SM, YG and JYP 24 3.2.1. SM Entertainment 25 3.2.2. YG Entertainment 28 3.2.3 JYP Entertainment 29 3.2.4. Trainee system 31 4. CONCLUSION 33 5. REFERENCES 34 6. WEBGRAPHY 36 2 CREATIVE INDUSTRIES IN SOUTH KOREA: THE KOREAN WAVE INTRODUCTION We live in a globalized world, surrounded by the effects of globalization in our daily life. Nowadays we have access to information about so many different cultures, countries, economies, different organizations, and so on. Thanks to the Internet, we have access to a whole new world in just a click. This is the main characteristic of the actual global situation. Personally, I am always amazed of this fact, being able to “travel" with just a click, being able to communicate with someone on the other side of the world, being able to know exactly what is happening, for example, in Australia while being in Spain, and more. -
An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California
UCLA UCLA Entertainment Law Review Title Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California Permalink https://escholarship.org/uc/item/88z2z7wm Journal UCLA Entertainment Law Review, 20(2) ISSN 1073-2896 Author Tsai, Patricia Publication Date 2013 DOI 10.5070/LR8202027172 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Tal- ent Agencies Act of California Patricia Tsai* The 360 deal has been an attractive option for music labels in the United States to gain traction in the faltering music industry, but po- tential legal obstacles may hinder the incentive to enter into the deals both for the label andfor the artist. Labels entering into 360 deals may find themselves liablefor violating the Seven-Year Statute or the Talent Agencies Act (TAA). With 360 agreements becoming more popular, labels should turn to an existing music industry that has dealt with the potentiallegal problems of 360 dealsfor years. The Korean pop industry, commonly called "K-pop, " has taken advantage of a 360-deal-like model for many years, and as a conse- quence, many Korean labels have experienced the potential legal prob- lems that American labels may face. Particularly,the legal problems faced by S.M Entertainment, a talent agency and music label giant in South Korea, as a result of their contract with TVXQ, a popular and hugely successful boy band,reveal exactly the type ofpotential liability faced by American music labels. -
SK Telecom Co., Ltd. (Translation of Registrant’S Name Into English)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 6-K REPORT OF FOREIGN PRIVATE ISSUER PURSUANT TO RULE 13a-16 OR 15d-16 UNDER THE SECURITIES EXCHANGE ACT OF 1934 FOR THE MONTH OF DECEMBER 2020 COMMISSION FILE NUMBER: 333-04906 SK Telecom Co., Ltd. (Translation of registrant’s name into English) 65, Eulji-ro, Jung-gu Seoul 04539, Korea (Address of principal executive office) Indicate by check mark whether the registrant files or will file annual reports under cover of Form 20-F or Form 40-F. Form 20-F ☒ Form 40-F ☐ Indicate by check mark if the registrant is submitting the Form 6-K in paper as permitted by Regulation S-T Rule 101(b)(1): ☐ Note: Regulation S-T Rule 101(b)(1) only permits the submission in paper of a Form 6-K if submitted solely to provide an attached annual report to security holders. Indicate by check mark if the registrant is submitting the Form 6-K in paper as permitted by Regulation S-T Rule 101(b)(7): ☐ Note: Regulation S-T Rule 101(b)(7) only permits the submission in paper of a Form 6-K if submission to furnish a report or other document that the registration foreign private issuer must furnish and make public under the laws of the jurisdiction in which the registrant is incorporated, domiciled or legally organized (the registrant’s “home country”), or under the rules of the home country exchange on which the registrant’s securities are traded, as long as the report or other document is not a press release, is not required to be and has not been distributed to the registrant’s security holders, and if discussing a material event, has already been the subject of a Form 6-K submission or other Commission filing on EDGAR. -
Effective Marketing Strategies in K-Pop Industry
Huy Quang Le Effective marketing strategies in K-pop industry Case study: TWICE - JYP Entertainment Bachelor Thesis Autumn 2018 Business School Degree Programme in International Business 2 SEINÄJOKI UNIVERSITY OF APPLIED SCIENCES Thesis abstract Faculty: Business School Degree Programme: International Business Specialisation: International Business Author(s): Huy Quang Le Title of thesis: Effective marketing strategies in K-pop industry Supervisor(s): Miia Koski Year:_2018 Number of pages: 28 Number of appendices: 1 Twice is currently leading girls group in the K-pop music industry. The group has attracted a significant number of fans not only in South Korea but also all around the world, thanks to spectacular marketing strategies from their managing company- JYP Entertainment. The aim of this thesis is to have a closer look on what are the key marketing strate- gies that JYP Entertainment has used to promote for Twice. There are two main parts in this thesis: theoretical framework and empirical study. In the theoretical part, a basic principle of marketing has been introduced as well as digital and social me- dia marketing. Moreover, a brief introduction about K-pop industry, JYP Entertain- ment, the girl group Twice and their marketing methods has also been presented as well as how K-pop, a music style with vast of audio-visual components has become a phenomenon worldwide. In the empirical part, a quantitative survey of random 100 people who interested in K-pop music was conducted to analyse the potential customers group and their be- haviour. Eventually, the results will help the entertainment companies creating a marketing strategy to attract more fans for their artists. -
Marketing K-Pop and J-Pop in the 21St Century Sarah Brand Dickinson College
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-21-2017 Marketing K-Pop and J-Pop in the 21st Century Sarah Brand Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the Asian Studies Commons, Digital Humanities Commons, Japanese Studies Commons, Korean Studies Commons, Music Commons, and the Other Film and Media Studies Commons Recommended Citation Brand, Sarah, "Marketing K-Pop and J-Pop in the 21st Century" (2017). Dickinson College Honors Theses. Paper 266. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. MARKETING K-POP AND J-POP IN THE 21ST CENTURY Sarah Brand Senior Thesis Department of East Asian Studies Dickinson College May 10, 2017 Brand 2017 Music is an important part of daily life and, as a result, an integral part of culture. The way in which individuals are exposed to different genres and types of music helps illustrate the extent to which globalization has had an impact on the world. Before the invention of the internet, music was only available for purchase to consumers who went to record stores and physically purchased goods. Now, countless unique songs and genres are readily available with just a single search. Due to how easily consumers can access new music, digital distribution has completely overtaken the profit from selling physical copies of albums. In 2006, record labels still made $9.4 billion from CD sales in the United States, despite the fact that digital distribution entities, such as Napster and iTunes, provided digital copies of the same songs. -
YG Entertainment (122870 KQ ) Buying Opportunity Amid Shifting Perceptions
YG Entertainment (122870 KQ ) Buying opportunity amid shifting perceptions Entertainment Shifting perceptions: 1) Normalized lineup and new artist momentum Concerns over YG Entertainment’s artist void are dissipating. The company’s star group Big Bang is preparing to make a comeback, and at least one new act will debut this Company Report year. The company will have a total of five groups that can go on overseas arena tours, February 27, 2020 and we see potential for additional growth. Big Bang will make its long-awaited comeback at the US Coachella festival in April. With their contract almost certain to be renewed, the group is likely to release a new album and embark on a world tour. We expect to see additional positive headlines soon . BLACKPINK is set to make its return with the release of a new album around April , which (Upgrade) Buy is likely to include major collaborations related to its partnership with Universal Music Group . The group is also planning to tour the US and Europe, and the minimum Target Price (12M, W) 40,000 guarantee for the concerts is likely to be raised from last year, leading to a meaningful profit contribution. Meanwhile, iKON returned to the stage in early 2020 as a six-member Share Price (02/26/20, W) 31,750 group. For Treasure 12, whose debut was postponed for a year due to a scandal, the company is currently working on pre-marketing ahead of the group’s official debut. Expected Return 26% Shifting perceptions: 2) Discontinuation of loss-making operations to accelerate profit improvement YG Entertainment is unloading its new businesses and instead focusing on its core OP (19P, Wbn) 1 businesses.