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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. -
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). -
The Oxford Democrat
The Oxford Democrat. 1898. NUMBER 48. ΥΟΙ.ΓΜΚ 65. SOUTH PARIS, MAINE, TUESDAY, NOVEMBER 29, Witt toe Μία sir? Doe· It If iu nue un- "Ah," cried be, "I hare no money!" CHAPTER IV. βmets," uyrano. * or to ad- ford ml. kin* a! dieguat you? ν VTKARNS. «Ill confer far by writing I Ragneneau, paatry I■ here assembled." wholesome to or It· too Blubbing, s be pot All tbe coûtent» of Bat eye· aw all the My ootnpany AMONG THE FARMERS. vance the amount and kind of exhibit· cook·, patron of poati and playwright·, you proportions thoagh Cyrano'· at hi· «id Carbon de Cutei Jaloux. "Cy- «rill communica- De Ur^e?" tbe buffet bis aervice. soene. bat am thought filled mind Attorney & Counselor, they make. All such had circnlated among them, telling them to the if you Bergerac nut take them from never rano, pre«-tit ooant, 91 be addreaaed to J. J. Cryano "No, no!" tbe bore, "it is "I could yon, —Knxam· Would she con»·* MAINS. tion· should Fry, from Um play by Hmd lottHd. them of Um bargain of Cyrano de Ber- gasped " NORWAY, exhibit cf io (act. Heaven obild," he Mid, "no keen la our Uaaoou Woo Id tbe «low minutes never dis* pieaae. Portland, Main·. A large waa ■nail, quite minute^ de Bergerac bon gerac. _ _ >;n!nir- (Un k Bull'lln# U ex· 8avinieu-Gyrano But fear of out- lb* CumstKifetoac* oa tiMtui ιο|>ι· a poultry food· and other a of me!" pride. hurting you themselves by? He wbiled away ajjrtcuitara. «applies (a Perigord in Um year 1620 and died "He haa got bat· Montflenry, belp (To be couUeu*l.j to aottrltad. -
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. -
Block B Album Download Block B Members Profile
block b album download Block B Members Profile. Block B (블락비) currently consists of: Zico, Taeil, B-Bomb, Jaehyo, U-Kwon, Kyung, and P.O . Leader Zico left the company on November 23, 2018, however according to Seven Seasons , the future of the band as a 7-members band is still under discussion. The band debuted on April 13, 2011, under Stardom Entertainment. In 2013, they left their agency and signed with Seven Seasons, a subsidiary label to KQ Entertainment. Block B Fandom Name: BBC (Block B Club) Block B Official Fan Color: Black and Yellow Stripes. Block B Official Accounts: Twitter: @blockb_official Facebook: BlockBOfficial Instagram: @blockb_official_ Fan cafe: BB-Club. Block B Members Profile: Zico Stage Name: Zico (지코) Birth Name: Woo Ji Ho (우지호) Position: Leader, Main Rapper, Vocalist, Face of the Group Birthday: September 14, 1992 Zodiac Sign: Virgo Birthplace: Seoul, South Korea Height: 181 cm (5’11”) Weight: 65 kg (143 lbs) Blood Type: O Twitter: @ZICO92 Instagram: @woozico0914. Zico Facts: – He was born in Mapo, Seoul, South Korea. – He has an older brother, Woo Taewoon, who was a former member of idol group Speed. – He was a Vocal Performance major at Seoul Music High School. – Zico studied at the Dong-Ah Institute of Media and Arts University (between 2013 -2015). – Specialties: Freestyle rap, composing, weaving melody lines. – He auditioned for S.M. Entertainment as a teenager. – He joined Stardom Entertainment in 2009. – Zico lived abroad in Japan for three years. – On November 7, 2014, Zico released his official solo debut single entitled “Tough Cookie” featuring the rapper Don Mills – He, along with Kyung have produced all of Block B’s albums. -
Super Junior
Super Junior Super Junior ((hangulhangul: )?, también conocido co- momo SuJu o o SJ SJ, es unauna boy boy band, proveniente dede Corea Corea del Sur. Formada en el 2005 porpor SM SM Entertainment,, Suju consconstabataba orioriginaginalmelmentente de 12 miemiembrmbros,os, espespe-e- cializados en el ámbito del entretenimiento musical y actoral. Los miembros originales eran:eran: Leeteuk Leeteuk (el lí- der),der), Heechul,, Yesung Yesung,, Shindong,, Kang-in Kang-in,, Sungmin Sungmin,, Eunhyuk,, Donghae Donghae,, Siwon Siwon,, Kibum Kibum,, Ryeowook Ryeowook yy Han Geng. Luego se agregó un decimotercer miembmiembroro llama- dodo Kyuhyun Kyuhyun en el 2006. Super Junior ha realizado siete álbumes de estudio y unun sencillo sencillo desde el 2005, alcanzando el reconocimien- to internacional tras el lanzamiento de su álbum “Sorry, Seúl, ciudad donde se formó Super Junior. Sorry” en el 2009. Además de su éxito comercial, Super Junior ha ganado trece premios en los Mnet Asia Music Awards, dieciséis en los Golden Disk Awards, once pre- 1.1 20002000–200–2005:5: ForFormacmaciónión y DDebebutut popularidadmios en los Seoul de Golden Music Disk Awards Awards, además los años del 2009,premio 2010 a la y 2011. En 2002000,0, SM SM Entertainment tuvo su primer casting En el 2012, fueron nominados como “Mejor Acto Asiá- en el extranjero enen Pekín Pekín,, China China, y descubrió aa Han tico” en loslos MTV MTV Europe Music Awards, mostrando una Geng, quien se presentó a la audición junto con otros vez más su popularidapopularidadd en el mundo. 3.000 participantes. Ese mismo año,año, Leeteuk Leeteuk,, Yesung Yesung yy Eunhyuk Eunhyuk fueron seleccionados después de audicionar Kibum, está como miembro inactivo para seguir con su para la compañía en un sistema de casting anual enen Seúl Seúl. -
An Appraisal Analysis : the Interpersonal Meanings in the Discourse of a Lyric
AN APPRAISAL ANALYSIS : THE INTERPERSONAL MEANINGS IN THE DISCOURSE OF A LYRIC Yuningsih State University of Jakarta Email: [email protected] Abstract Lyrics have significant contributions to the music by giving the audience deep understanding about the message contained in the song. The message can be delivered depending on how the writer put the words in the lyrics (Bertoli-Dutra and Bissaco, 2006: 1053). This study focused on analysing interpersonal meanings and linguistics features from the perspective of Appraisal Theory. Due to the time constraints, the study only analysed the interpersonal meaning from Attitude categories, - Affect, Judgement and Affection. The method used was descriptive which data collected from ―Lonely Night‖ song lyric by CNBLUE. The process data analysis was based on Appraisal Framework, a development of Systemic Functional Linguistics, proposed by Martin and White (2005). The result of study showed that the song ―Lonely Night‖ has high Affect sub-categories which reached 81.25%, meanwhile the Judgement and Affection reached the same amount, 9.3%. From all affect types, the song showed unhappiness where the composer revealed the feeling of being dumbed and disrespected. Finally, Appraisal Framework, as one of approach used in many genres, can be used as an alternative for analysing song. Appraisal Framework was developed to make analysis which is more systemic and organized as it was developed from Systemic Functional Linguistics. Keywords: Appraisal Theory, Song Lyric, Affect, Text Analysis INTRODUCTION the primary and lyrics as the secondary In communication process, human (Dallin 1994). People use imaginative beings use language to express almost diction and rhyme to express their emotions everything such as thought, ideas, emotion, through the lyrics representing their desire, message, etc (Griffee, 1995:4). -
Mispronunciation of English Sounds in CNBLUE's Songs
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI MISPRONUNCIATION OF ENGLISH SOUNDS IN CNBLUE’S SONGS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By METHODIA KARTIKA DINI Student Number: 144214104 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI MISPRONUNCIATION OF ENGLISH SOUNDS IN CNBLUE’S SONGS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By METHODIA KARTIKA DINI Student Number: 144214104 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI With God All Things are Possible - Matthew 19:26 vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDMENTS First of all, I would like to say the greatest thanks to my amazing God Jesus Christ for His grace and blessings which always I receive more than I deserve. I thank Him for not letting me to give up on my life and my undergraduate thesis. I also would like to thank God for giving the chance to meet a wonderful thesis advisor. I would like to give the deepest gratitude to my advisor Arina Istianah, S.Pd., M.Hum for giving her the best support to me in finishing this thesis. Thank you for being patient to me and spending your precious time for me. I would also give a special gratitude to my co-advisor, Wedhowerti, S.Pd., M.Hum., for her time and kindness in helping me writing my thesis. -
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. -
Colorado Journal of Asian Studies, Volume 5, Issue 1
COLORADO JOURNAL OF ASIAN STUDIES Volume 5, Issue 1 (Summer 2016) 1. Comparative Cultural Trauma: Post-Traumatic Processing of the Chinese Cultural Revolution and the Cambodian Revolution Carla Ho 10. Internet Culture in South Korea: Changes in Social Interactions and the Well-Being of Citizens Monica Mikkelsen 21. Relationality in Female Hindu Renunciation as Told through the Life Story of Swāmī Amritanandā Gīdī Morgan Sweeney 47. Operating in the Shadow of Nationalism: Egyptian Feminism in the Early Twentieth Century Jordan Witt 60. The Appeal of K-pop: International Appeal and Online Fan Behavior Zesha Vang Colorado Journal of Asian Studies Volume 5, Issue 1 (Summer 2016) Center for Asian Studies University of Colorado Boulder Page i 1424 Broadway, Boulder, CO 80309 Colorado Journal of Asian Studies Volume 5, Issue 1 (Summer 2016) The Colorado Journal of Asian Studies is an undergraduate journal published by the Center for Asian Studies at the University of Colorado at Boulder. Each year we highlight outstanding theses from our graduating seniors in the Asian Studies major. EXECUTIVE BOARD AY 2016-2017 Tim Oakes, Director Carla Jones, Interim Director, Spring (Anthropology, Southeast Asia) Colleen Berry (Associate Director/Instructor) Aun Ali (Religious Studies, West Asia/Middle East) Chris Hammons (Anthropology, Indonesia) Sungyun Lim (History, Korea, East Asia Terry Kleeman (Asian Languages & Civilizations, China, Daoism) RoBert McNown (Economics) Meg Moritz (College of Media Communication and Information) Ex-Officio Larry Bell (Office of International Education) Manuel Laguna (Leeds School of Business) Xiang Li (University Libraries, East Asia-China) Adam LisBon (University Libraries, East Asia-Japan, Korea) Lynn Parisi (Teaching about East Asia) Danielle Rocheleau Salaz (CAS Executive Director) CURRICULUM COMMITTEE AY 2016-2017 Colleen Berry, Chair Aun Ali (Religious Studies, West Asia/Middle East) Jackson Barnett (Student Representative) Kathryn GoldfarB (Anthropology, East Asia-Japan) Terry Kleeman (AL&L; Religious Studies. -
CNBLUE Album)
Colors (CNBLUE album) Colors (stylized colors) is the fourth major-label Japanese studio album (sixth overall) by South Korean pop rock band CNBLUE. It was released on September 30, 2015, under Warner Music Japan. After releasing the first single "White", the band decided to continue with the theme of color to showcase musical variety through the album. "Supernova" was released as the album's promotional single in September. CNBLUE (씨엔불루). Ravi of VIXX â“ Home Alone (나í™ë¡œ 집ì—) (Feat. Jung Yonghwa of CNBLUE). CNBLUE (씨엔불루). CNBLUE â“ Youâ™re So Fine (ì´ë ‡ê²Œ 예뻤나). CNBLUE (씨엔불루). CNBLUE â“ Cinderella. CNBLUE (씨엔불루). Jung Yonghwa (ì •ìš©í™”) â“ One Fine Day (ì–´ëŠ ë©‹ì§„ ë‚ ). CNBLUE (씨엔불루). Jung Yonghwa (ì •ìš©í™”) â“ Mileage (마ì¼ë¦¬ì§) (feat. YDG). CNBLUE (씨엔불루). CBNLUE â“ Like a Child (ì•„ì´ì˜ 노래). CNBLUE (씨엔불루). CNBLUE â“ Love Isâ¦Â CNBLUE â“ Diamond Girl. Posts navigation. Colors is the fourth major-label Japanese studio album by South Korean pop rock band CNBLUE. It was released on September 30, 2015, under Warner Music Japan. âœColorsâ q&a. Album Credits. Writers Lee Jong Hyun. More CNBLUE albums. Best of CNBLUE / OUR BOOK [2011-2018]. 2017 cnblue live [between us] tour DVD. Artists: CNBLUE. Tracklist: 01. Intro,02. Supernova,03. WHITE,04. holiday,05. hold my hands,06. IRONY,07. realize,08. Daisy,09. Lucid dream,10. -
Volume 8, No 2, October 2019
International Journal of Music Business Research Volume 8, Number 2, October 2019 Editors: Peter Tschmuck University of Music and Performing Arts Vienna, Austria Dennis Collopy University of Hertfordshire, UK Phil Graham (also book review editor) University of the Sunshine Coast, Australia Guy Morrow University of Melbourne, Australia Daniel Nordgård (also book review editor) University of Agder, Norway Carsten Winter (also book review editor) University of Music, Drama and Media Hanover, Germany AIMS AND SCOPE: The International Journal of Music Business Research (IJMBR) as a double-blind reviewed academic journal provides a new platform to present articles of merit and to shed light on the current state of the art of music business research. Music business research involves a scientific approach to the intersection of economic, artistic (especially musical), cultural, social, legal, technological developments and aims for a better understanding of the creation/production, dissemination/distribution and recep- tion/consumption of the cultural good of music. Thus, the IJMBR targets all academics, from students to professors, from around the world and from all disciplines with an interest in research on the music economy. EDITORIAL BOARD Dagmar Abfalter, University of Music and Performing Arts Vienna, Austria David Bahanovich, Trinity Laban Conservatoire of Music and Dance London, UK Marc Bourreau, Université Telecom ParisTech, France Ryan Daniel, James Cook University Townsville, Australia Beate Flath, University of Paderborn, Germany