MIT Scientists Find God, Paper Awaits Peer Review Process
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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 -
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. -
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 ................................................................................................................................. -
Bts Jin Penalty Outfits
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Hallyu at a Crossroads: the Clash of Korea's Soft Power Success and China's Hard Power Threat in Light of Terminal High
Asian International Studies Review Vol. 18 No.1 (June 2017): 153-169 153 Received March 15, 2017 Revised May 10, 2017 Accepted May 20, 2017 Hallyu at a Crossroads: The Clash of Korea’s Soft Power Success and China’s Hard Power Threat in Light of Terminal High Altitude Area Defense (THAAD) System Deployment HANNAH JUN* The past two decades have witnessed the remarkable success of Hallyu, or the Korean Wave, with Korea welcoming a large influx of foreign visitors and benefiting from massive consumption of products ranging from Korean television and film, K-pop and lifestyle products. A more recent announcement by CJ E&M points to an even more aggressive plan for regional ubiquity, as encapsulated by Hallyu 4.0. Simultaneously, we have already felt some of the effect of policy changes in China – a core Hallyu market – as a response to Korea’s plan to deploy a Terminal High Altitude Area Defense (THAAD) system. In this sense, we see the stirrings of a clash between Korean soft power and Chinese hard power, and are uncertain who will emerge on top. This paper examines the broad success of Hallyu from key theoretical perspectives, while addressing linkages between Korean corporations and cultural power/influence that have led to an announcement such as Hallyu 4.0. This paper also highlights the recent tensions between Korea and China, specifically with respect to THAAD deployment, and outlines potential implications for businesses and policymakers through preliminary scenarios. Keywords: Nuclear Taboo, Nuclear Arms, Deterrence, Norms, Proliferation, Just War * Assistant Professor, Ewha Womans University, Seoul, South Korea; E-mail: [email protected]; DOI: 10.16934/isr.18.1.201706.153 Downloaded from Brill.com09/28/2021 03:33:20PM via free access 154 Hallyu at a Crossroads I. -
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. -
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. -
Dating Lim Jaebum Austin Hookup Spots Tall Russian Girl Dating
Jun 10, · Lim Jaebum Park Jinyoung Im Changkyun Happy fathers day to all my baby daddies Jeong Yuno Xiao Dejun Jeon Jungkook Jackson Wang Mark Lee Lee Jooheon Yuta Nakamoto Lim Jaebum Lee Minhyuk It's been 1 whole year since you and jb started dating and today was your anniversary. You were so happy but for the past few days jb has been distant from renuzap.podarokideal.rus: 8. Got7 mark dating. Verdades Pensamentos Got7 Engraçado Meme Got7 Bts Memes Youngjae Got7 Jackson Mark Jackson Vida Discovered by renuzap.podarokideal.ru images and videos about got7, mark and jackson on We Heart It - the app to get lost in what you love GOT7's Mark sits down for an interview with 'Unnamed Magazine' and talks about the possibility of starting his own brand greenbird Monday, January 13, . Jaebum’s ideal type masterpost Bonus Dating Stuff. if he wanted to confess to her, he would scream 'I love you' loudly to her right on the concert venue. she has to like korean food. he confessed to a girl, but she wasn’t feeling the same as him and she told him that she wants to stay friends with him. Since then he is afraid to confess. Dec 23, · Lim Jae-beom (Hangul: 임재범; born January 6, ) commonly known by his stage name JB (Hangul: 제이비), is a South Korean singer, record . Jaebum dating - If you are a middle-aged man looking to have a good time dating woman half your age, this article is for you. Rich woman looking for older man & younger man. -
Stream Media Corporation / 4772
Stream Media Corporation / 4772 COVERAGE INITIATED ON: 2021.07.20 LAST UPDATE: 2021.07.20 Shared Research Inc. has produced this report by request from the company discussed in the report. The aim is to provide an “owner’s manual” to investors. We at Shared Research Inc. make every effort to provide an accurate, objective, and neutral analysis. In order to highlight any biases, we clearly attribute our data and findings. We will always present opinions from company management as such. Our views are ours where stated. We do not try to convince or influence, only inform. We appreciate your suggestions and feedback. Write to us at [email protected] or find us on Bloomberg. Research Coverage Report by Shared Research Inc. Stream Media Corporation/ 4772 RCoverage LAST UPDATE: 2021.07.20 Research Coverage Report by Shared Research Inc. | https://sharedresearch.jp INDEX How to read a Shared Research report: This report begins with the trends and outlook section, which discusses the company’s most recent earnings. First-time readers should start at the business section later in the report. Executive summary ----------------------------------------------------------------------------------------------------------------------------------- 3 Key financial data ------------------------------------------------------------------------------------------------------------------------------------- 5 Recent updates ---------------------------------------------------------------------------------------------------------------------------------------- -
Primary & Secondary Sources
Primary & Secondary Sources Brands & Products Agencies & Clients Media & Content Influencers & Licensees Organizations & Associations Government & Education Research & Data Multicultural Media Forecast 2019: Primary & Secondary Sources COPYRIGHT U.S. Multicultural Media Forecast 2019 Exclusive market research & strategic intelligence from PQ Media – Intelligent data for smarter business decisions In partnership with the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers Co-authored at PQM by: Patrick Quinn – President & CEO Leo Kivijarv, PhD – EVP & Research Director Editorial Support at AIMM by: Bill Duggan – Group Executive Vice President, ANA Claudine Waite – Director, Content Marketing, Committees & Conferences, ANA Carlos Santiago – President & Chief Strategist, Santiago Solutions Group Except by express prior written permission from PQ Media LLC or the Association of National Advertisers, no part of this work may be copied or publicly distributed, displayed or disseminated by any means of publication or communication now known or developed hereafter, including in or by any: (i) directory or compilation or other printed publication; (ii) information storage or retrieval system; (iii) electronic device, including any analog or digital visual or audiovisual device or product. PQ Media and the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers will protect and defend their copyright and all their other rights in this publication, including under the laws of copyright, misappropriation, trade secrets and unfair competition. All information and data contained in this report is obtained by PQ Media from sources that PQ Media believes to be accurate and reliable. However, errors and omissions in this report may result from human error and malfunctions in electronic conversion and transmission of textual and numeric data. -
The Korean Wave in America: Assessing the Status of K-Pop and K-Drama Between Global and Local
Situations 11.2 (2018): 105– 27 ISSN: 2288–7822 The Korean Wave in America: Assessing the Status of K-pop and K-drama between Global and Local Lisa M. Longenecker and Jooyoun Lee (St. Edward’s University) Abstract Although scholarly attention has focused increasingly on the global recognition of the Korean Wave, little has been explored regarding the popularity and appeal of this phenomenon in the United States. This article seeks to fill this gap by analyzing the extent to which hallyu has been recognized and accepted by American audiences by focusing on K-pop and K-drama. Exploring how hallyu is being received in America offers meaningful insights into how a country with predominant cultural influence on the global stage responds to another country’s transnational popular culture. This study demonstrates that K-pop and K-drama are gradually gaining popularity and visibility in America via diverse channels. BTS in particular has significantly penetrated the U.S. market by interacting with fans on social media, meeting psychological needs of individuals, and filling in for the lack of boy bands in the current American music scene. While both K-pop and K-drama exhibit some limitations in infiltrating American society, the contemporary status of hallyu in America disputes the idea of American cultural dominance by illustrating a complex and intriguing process of globalization embedded in constant interactions between global and local forces, a process that entails adaptation, acceptance, and tension between different cultures. Keywords: Korean Wave, hybridity, cultural tension, cultural homogenization, heterogenization, K-pop, K-drama, BTS 106 Lisa M. -
Korean Women, K-Pop, and Fandom a Dissertation Submitted in Partial Satisfaction
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. Thank you for your essential and insightful suggestions on my work. My special acknowledgement goes to the Korean female K-pop fans who were willing to participate in my research.