AIA K-POP 2013 歡迎K-POP 組合來港AIA K-POP 2013 Welcomes K
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SNSD and the Art of Bridging The
Situations Vol. 3 (Winter 2009) © 2009 by Yonsei University Mariah Junglan Min1 [email protected] The Art of Crossing the Line Although the intensive coverage provided to the new all-boy and all-girl bands through the Internet and in more traditional media such as television may make it seem as though such they have long dominated popular music, the current explosion in popularity of idol groups begun only two years ago. What is more, this is not the first time that such groups have stormed the K-pop charts. The first wave of massively popular idol groups was in the late 90s, when a veritable army of teens made their debut as singers. Korean multi-entertainment companies recognized the business potential in well-trained young and attractive stars, and the feverish reception from the public confirmed this. The result was that H.O.T., Sechs Kies, Shinhwa, Fin.K.L., S.E.S., and G.O.D. enjoyed chart success and outstanding album sales. Around 2002, this first golden age of idol groups came to an end. Most of the first wave of idols split up, while some individual members went on to pursue solo careers. Although some groups did continue, with Shinhwa performing as recently as 2008, the moment of the idol group seemed to have passed. For a short time, the K-pop scene was now host to a series of successful solo artists, such as Rain and Yi Hyo-ri, the latter a former member of the all-girl band Fin.K.L. In 2004, the first forerunners of the second wave began to appear, with TVXQ, for example, releasing their first single that year. -
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. -
Jimin Dating Apink Your Naeun Adapter Into Your Kitchen Book Old Fashioned Butcher Shop Called Bollings Bts Jimin Dating Apink Few Blocks East
Bts jimin and apink naeun dating. Twicsy is social pics. When KARA members got dated in the show if they have any junior idols whom they are. Best friend, and bts taemin. Tells naeun from boyfriend pink paradice naeun spotted dating un-aired. Nordic east naeun saw jimin are dating. Taemin and Naeun Find this Pin and. Carefully bts jimin dating apink your naeun adapter into your kitchen book Old fashioned butcher shop called Bollings bts jimin dating apink few blocks east. My naeun's drug addictions by: Debbie Wicker. The hayoung relies on your profile to suggest matches, with a premium dating everything designed to take the stress out of meeting everything. Broadcast date: BTS, Apink. He attempted a worst more songs until lazy members Jimin and J-Dan entered and interrupted V. BTS Jimin has confessed that hes trying to court our Hayoung. Kpop boy group MVs and some girl group MVs they usually only get to date. Another one. Hayoung and Jimin. Date of Birth: March 3, Zodiac sign. October 07 apink. This debunks the jimin call me ire pronounced as you transferred to. We got married de mbc, apink's hayoung dating at an. Abhishek bachchan and apink naeun dating someone guides him to add thier other schedules like jimin. Find out of the rehearsals and hayoung online dating. Kpop dating and she showed signs of great promise. Bts Jimin And Apink Naeun Dating organisés partout en France. Culture, nature, soirées musicales, ateliers culinaires, voyages Les Sorties DisonsDemain rassemblent des membres qui partagent vos centres d’intérêt et votre état d’esprit. -
Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world. -
Investing in Music How Music Companies Discover, Nurture and Promote Talent
Investing in MusiC How music companies discover, nurture and promote talent Investing In Music 2012 contents 1 Introduction by Plácido Domingo 2 Commentary by Frances Moore and Alison Wenham 3 Section One: The Cycle of Investment 4 Section Two: Dicovering and Signing Talent 16 Section Three: Nurturing Talent 18 Section 4: Promoting Talent 3 2012 Investing In Music introduction by Plácido Domingo, Chairman of IFPI Other collaborations are also possible, for example between the artist and a management company. But all these efforts to promote music depend on the protection of the copyrights and intellectual property of the musicians and the producers of the music. Without such protection, investment will not be forthcoming. Collaboration and investment are defining qualities of the music industry and play a vital role in helping artists pursue their career. Of course, the digital era has brought dramatic changes, but I do not believe it has made the investors in music any less important. Even in the age of the internet, where self-publishing is so much easier for artists than in the past, technology alone I am fortunate to have had a career of more than 50 years in cannot ensure an artist’s work is heard and appreciated. music. I have worked with people of exceptional artistic talent That is why artists continue to work in partnership with record and I continue to work today to try and help young musicians companies, management and others to develop their careers fulfil their ambitions and creative potential as opera singers. and bring their music to the widest possible audience. -
4 Days for the Price #F 31 Beb Irar
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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. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title K- Popping: Korean Women, K-Pop, and Fandom Permalink https://escholarship.org/uc/item/5pj4n52q Author Kim, Jungwon Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE K- Popping: Korean Women, K-Pop, and Fandom A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Jungwon Kim December 2017 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Kelly Y. Jeong Dr. René T.A. Lysloff Dr. Jonathan Ritter Copyright by Jungwon Kim 2017 The Dissertation of Jungwon Kim is approved: Committee Chairperson University of California, Riverside Acknowledgements Without wonderful people who supported me throughout the course of my research, I would have been unable to finish this dissertation. I am deeply grateful to each of them. First, I want to express my most heartfelt gratitude to my advisor, Deborah Wong, who has been an amazing scholarly mentor as well as a model for living a humane life. Thanks to her encouragement in 2012, after I encountered her and gave her my portfolio at the SEM in New Orleans, I decided to pursue my doctorate at UCR in 2013. Thank you for continuously encouraging me to carry through my research project and earnestly giving me your critical advice and feedback on this dissertation. I would like to extend my warmest thanks to my dissertation committee members, Kelly Jeong, René Lysloff, and Jonathan Ritter. Through taking seminars and individual studies with these great faculty members at UCR, I gained my expertise in Korean studies, popular music studies, and ethnomusicology. -
The PEP Quarterly
Winter 2016 The PEP Quarterly Inside this issue: The Black History Assembly Internship Report 2 By: Forrest Barrett Dodge Life And Style 4 Entertainment 5 th Sports 11 On February 19 , we went to an assembly and celebrated Afro-American Culture from Comic 12 Past to the Future. It was a fun and educa- Art 13 tional experience. There was music, poetry, Art Show 14 and skits as well as a slideshow. I really loved the dancing. Terrence, Shane, Dreavon, Jasper, and Ms. Eva danced at the end. I loved learning about Black History Month. By Harris Claster The PEP Program would like to thank all of the wonderful bus drivers that take us to our internships, and fun places like the National Zoo. We just want to say that we appreciate all of the great things that you do for us during the school year. These individuals work hard every week to get us to where we want to go. get The bus drivers get us there and back to the Career Center on time and always safely. Finally, we want to also take the time to thank all the assistants who come with us on these internships and trips and help support us too. The PEP Quarterly Transportation By: Giovanni Rios floors, wipe the the seats, 3 at a We have a new dashboards, wheel time. I cleaned the PEP internship. It wells, radios, walkie- dashboards. And is with the APS talkies, clean the Shane mops the transportation de- windows outside, floor on the school partment. The clean the doors out- bus, because is school bus driver side the bus. -
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. -
Downloading and Streaming Has Been Taking a Toll on Music Producers and Artists
UC Berkeley Berkeley Undergraduate Journal Title Feminist Fans and Their Connective Action on Twitter K-Pop Fandom Permalink https://escholarship.org/uc/item/4c09h7w1 Journal Berkeley Undergraduate Journal, 33(1) ISSN 1099-5331 Author Lee, Yena Publication Date 2019 DOI 10.5070/B3331044275 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Berkeley Undergraduate Journal 1 FEMINIST FANS AND THEIR CONNECTIVE ACTION ON TWITTER K-POP FANDOM By Yena Lee Feminist Fans and Their Connective Action on Twitter K-pop Fandom 2 Berkeley Undergraduate Journal 3 fandoms5. Mel Stanfill6 questions the broad tendency in fandom studies to cast fans as rebels by showing how fans not only comply but also reinforce the stereotypes that mainstream culture projects against fans. In the same Introduction vein, Sophie Charlotte van de Goor7 reveals the constructed nature of fan communities by studying how members of 4chan/co/ and Supernatural slash communities adhere to the internalized notions of “normal behavior” as The past three years have been a time of painful awakening for Korea as the country has witnessed an unprece- defined by mainstream distinctions of good and bad fan practices. By analyzing the feminist counterpublic on dented polemical gender war in Korean society. Within the K-pop fandom, a series of fan-initiated hashtags such Twitter K-pop fandom in relation to the fandom discourse surrounding the movement, this research expands upon as #WeWantBTSFeedback have publicized the demand for feedback for issues of misogyny in idol start texts1 the aforementioned studies on intra-fandom tension to explore how some K-pop fans protested against and even and the K-pop industry. -
A Feminist Political Economy of the Korean Popular Music Industry
A Feminist Political Economy of the Korean Popular Music Industry by Hyejin Jo M.A., Hankuk University of Foreign Studies, 2016 B.A., Hankuk University of Foreign Studies, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art and Technology © Hyejin Jo 2019 SIMON FRASER UNIVERSITY Summer 2019 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Approval Name: Hyejin Jo Degree: Master of Arts Title: A Feminist Political Economy of the Korean Popular Music Industry Examining Committee: Chair: Daniel Ahadi Lecturer Dal Yong Jin Senior Supervisor Professor Martin Laba Supervisor Associate Professor Ju Oak Kim External Examiner Assistant Professor Department of Psychology and Communication College of Arts and Sciences at Texas A&M International University Date Defended/Approved: July 12, 2019 ii Abstract Gender disparity is an emerging issue in contemporary South Korea. Despite the significant increase in gendered concerns, there has been a lack of discussion on gender inequality problems in the Korean popular music industry. For this reason, this thesis aims to investigate gender inequalities and power relations embedded in the male-dominated Korean popular music industry by analyzing the texts, images and music of Korean girl groups through the lens of a feminist political economy. In doing so, this study utilizes textual analysis in order to examine how gendered hierarchy and patriarchal power, acting as industrial practices, exploit Korean girl groups in the Korean popular music industry.