SM Entertainment (041510 KQ ) an Entertainment Powerhouse
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SM Entertainment (041510 KQ ) Two Expectations
SM Entertainment (041510 KQ ) Two expectations Entertainment Watch for new artist growth and enhanced shareholder returns; Maintain Buy and TP of W59,000 Company Report SM Entertainment’s stock has struggled since the start of 2019, weighed by May 30, 2019 disappointing 1Q19 earnings, industry-specific risks, and limited visibility on 2019 profit growth. However, we see two tailwinds materializing moving forward. First, we expect the company to see greater artist effects on the back of the growth of new groups . Both NCT and WayV are set to release new albums , building upon their increasing popularity. NCT expanded its global fan base by launching its first world tour just 30 (Maintain) Buy months after its debut, while WayV’s first mini album Take Off has topped the charts . WayV is growing rapidly in China, in terms of both music activities (album/digital Target Price (12M, W) 59,000 music/concerts) and management (ads/broadcasting). Second, we expect talks of shareholder returns to take shape . Several major Share Price (05/29/19, W) 37,650 institutional investors have disclosed stake acquisitions in SM Entertainment this year. Altogether, we believe these institutions hold a roughly 20% stake in the company. Due Expected Return to the continued decline in its share price, the company’s long-term issues (cost 57% savings through the internationalization of outsourced services , shareholder returns through dividend distribution, etc.) have come into focus more frequently and more intensely. Given recent changes in the ownership structure and expectations of strong OP (19F, Wbn) 49 profit improvement (+30% YoY), we think the debate about management efficiency and Consensus OP (19F, Wbn) 54 shareholder returns is more relevant than ever. -
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 Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. -
Dua Lipa and Nct 127 Round out “2019 Mtv Emas” Performer Lineup
DUA LIPA AND NCT 127 ROUND OUT “2019 MTV EMAS” PERFORMER LINEUP DUA LIPA AND NCT 127 ROUND OUT “2019 MTV EMAS” PERFORMER LINEUP WITH SOFIA REYES, PABLLO VITTAR AND JHAY CORTEZ TO HEADLINE RED CARPET PRE-SHOW PRESENTERS AND SPECIAL APPEARANCES INCLUDE REYES, TERRY CREWS, PAZ VEGA, JOAN SMALLS, DOUTZEN KROES, GEORGINA RODRÍGUEZ AND LEOMIE ANDERSON ARTIST IMAGES: Dua Lipa: https://we.tl/t-P6DlW0m0qO Sofia Reyes – https://we.tl/t-HXhgAOVNnd Terry Crews – https://we.tl/t-T8cpBRjJLm Doutzen Kroes – https://we.tl/t-3T1jdUW9tG Joan Smalls – https://we.tl/t-NEdESf92cQ Paz Vega – https://we.tl/t-6MrDMos7kq Georgina Rodriguez – https://we.tl/t-swiRn4hg1s Leomie Anderson – https://we.tl/t-kj2wQcfZOh NCT127 and Pabllo Vittar – https://www.dropbox.com/sh/qs06pmtzfws8wdm/AAAsgq3gKfNQ_fGzDhaZ9mYya?dl =0 SOCIAL TAGS: #MTVEMA @MTVEMA @VIACOM_INTL NEW YORK/SEVILLE—OCT. 28, 2019 – MTV today unveiled that pop superstar Dua Lipa and Seoul-based global pop powerhouse NCT 127 will join the “2019 MTV EMA” performer lineup. Actors Terry Crews and Paz Vega and supermodels Joan Smalls, Doutzen Kroes, Georgina Rodríguez and Leomie Anderson will make special | 1 DUA LIPA AND NCT 127 ROUND OUT “2019 MTV EMAS” PERFORMER LINEUP appearances throughout show, which will air live from FIBES Conference & Exhibition Centre of Seville, Spain on Sunday, November 3rd at 9:00pm CET. Mexican pop superstar Sofia Reyes—joined by Puerto Rican hitmaker Jhay Cortez—and Brazilian drag queen, singer and songwriter Pabllo Vittar will kick off the biggest global music celebration of the year with pre-show performances on the EMA red carpet. -
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 ................................................................................................................................. -
K-Pop: South Korea and International Relations S1840797
Eliana Maria Pia Satriano [email protected] s1840797 Word count: 12534 Title: K-pop: South Korea and International Relations s1840797 Table of Contents: 1. Chapter 1 K-pop and International Relations………………………………..……..…..3-12 1.1 Introduction ……………………………………………………………………..…..3-5 1.2 K-pop: from the National to the International Market: The History of K-pop………5-6 1.3 The Drivers Behind the K-pop Industry..………………………………….….….…6-10 1.4 The Involvement of the South Korean Government with Cultural Industries.…… 10-12 2. Chapter 2 Soft Power and Diplomacy, Music and Politics ……………………………13-17 2.1 The Interaction of Culture and Politics: Soft Power and Diplomacy………………13-15 2.2 Music and Politics - K-pop and Politics……………………………………………15-17 3. Chapter 3 Methodology and the Case Study of BTS……………………………..……18-22 3.1 Methodology………………………………………………………………….……18-19 3.2 K-Pop and BTS……………………………………………………………….……19-20 3.3 Who is BTS?………………………………………………………………….……20-22 3.4 BTS - Beyond Korea……………………………………………………………….…22 4. Chapter 4 Analysis ……………………………………………………….…….…….. 23-38 4.1 One Dream One Korea and Inter-Korea Summit……….…………………..……..23-27 4.2 BTS - Love Myself and Generation Unlimited Campaign…………………….…..27-32 4.3 Korea -France Friendship Concert..………………………………………..….…..33-35 4.4 Award of Cultural Merit…………………………………………….………….…..35-37 4.5 Discussion and Conclusion…………………………………………………….…..37-38 Bibliography…………………………………………………………………………….….39-47 !2 s1840797 CHAPTER 1: K-pop and International Relations (Seventeen 2017) 1.1 Introduction: South Korea, despite its problematic past, has undergone a fast development in the past decades and is now regarded as one of the most developed nations. A large part of its development comes from the growth of Korean popular culture, mostly known as Hallyu (Korean Wave). -
A Case Study on the Translation of NCT's Bubble Message Lutfia Rizka Nita FACULTY
Discourse Analysis on K-Pop Fan's Translation: A Case Study on the Translation of NCT's Bubble Message A thesis by Lutfia Rizka Nita Student Number: 06011181722045 English Education Study Program Department of Language and Art Education FACULTY OF TEACHER TRAINING AND EDUCATION SRIWIJAYA UNIVERSITY 2021 1 ii Discourse Analysis on K-Pop Fan's Translation: A Case Study on the Translation of NCT's Bubble Message Lutfia Rizka Nita Student Number: 06011181722045 This thesis was defended by the writer in the final program examination and was approved the examination committee on: Day: Thursday Date: 22nd April 1. Chairperson : Dr. Mgrt. Dinar Sitinjak, M.A. ( ) 2. Examiner : Machdalena Vianty, M.Pd., M.Ed., Ed.D. ( ) Indralaya, _________ 2021 Certified by Coordinator of English Education Study Program, Hariswan Putera Jaya, S.Pd., M.Pd. NIP. 197408022002121001 iii DECLARATION I, the undersigned, Name : Lutfia Rizka Nita Student’s Number : 06011181722045 Study Program : English Education Certify that the thesis entitled “Discourse Analysis on K-Pop Fan's Translation: A Case Study on the Translation of NCT's Bubble Message” is my own work and I did not do any plagiarism or inappropriate quotation against the ethic and rules commended by Ministry of Education of Republic of Indonesia Number 17, 2010 regarding plagiarism in higher education. Therefore, I deserve to face court if I am found to have plagiarized this work. Indralaya, 2021 The Undersigned, Lutfia Rizka Nita 06011181722045 iv THESIS DEDICATIONS This thesis is dedicated to: ❖ Allah SWT, with the grace and blessings that are given to me in everything. ❖ My lovely parents, Juni and Mastaria who contributed everything included my little sister, Rachmah who always supported me too. -
NCT U Music Videos: NCT 127 Music Videos
Neo Culture Technology (NCT) - SM Entertainment - Total Number of Members: 21 - Comprised of three permanent sub-units and one revolving ‘project’ sub-unit - Permanent Sub-Units: -- NCT 127 -- NCT Dream -- WayV (WēiShén V) - Project Sub-Unit: -- NCT U - Official Color: Lime Green - Official Fandom Name: NCTzen (meaning all the fans are citizens of NCT) - Fandom Nickname: C-zennies (pronounced like “seasonies”) - NCT U first to debut, on April 9, 2016 with “The 7th Sense” and ‘Without You” -- Featured Taeil, Taeyong, Doyoung, Ten, Jaehyun, and Mark - NCT 127 debuted next, on July 7 2016, with “Fire Truck” and “Once Again” -- Debuted originally with seven members: Taeil, Taeyong, Yuta, Jaehyun, Winwin, Mark, and Haechan - NCT Dream debuted third, on August 24, 2016, with “Chewing Gum” -- Debuted with seven members: Mark, Renjun, Jeno, Haechan, Jaemin, Chenle, and Jisung - Additional members, Kun, Lucas, and Jungwoo, weren’t added until January 30, 2018 - On December 31, 2018, SM announced the formation of WayV in China -- Officially debuted on January 17, 2019 with a Chinese version of NCT 127's "Regular" -- Debuted with seven members: Kun, Winwin, Ten, Lucas, Hendery, Xiaojun, and Yangyang NCT U Music Videos: The 7th Sense: https://www.youtube.com/watch?v=3UGMDJ9kZCA The 7th Sense (Performance Video): https://www.youtube.com/watch?v=yTmR-ogUXqo Without You: https://www.youtube.com/watch?v=y6OcvS54KYQ Neo Got My Back: https://www.youtube.com/watch?v=8b2EP0NZtrU Boss: https://www.youtube.com/watch?v=0AUFyFEt35g Baby Don’t Stop: https://www.youtube.com/watch?v=k0DqRstCgj4 -
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. -
SM Entertainment (041510 KQ) Entertainment
May 31, 2012 Company Report SM Entertainment (041510 KQ) Entertainment Daewoo Securities Co., Ltd. Spread of smart devices to lead to increased music consumption Chang-kwean Kim +822-768-4321 Digital music revenues to expand on launch of iTunes and improved pricing [email protected] We expect the global and domestic digital music markets to show robust growth until 2015 (at CAGRs of 11.6% and 14.9%, respectively). AppleÊs launch of iTunes in Korea should boost digital music demand. And the governmentÊs anticipated introduction of a pay-per-streaming/download system should lead to unit price hikes. The growth of the smart TV (e.g., Apple TV) market should boost traffic to music videos as well as help facilitate the development of SM EntertainmentÊs drama Buy (Maintain) business. In 2011, SM generated W4bn in advertising revenues related to its YouTube music videos and W6.2bn in digital music revenues. The gross margin of Target Price (12M, W) 57,400 Share Price (05/30/12, W) 40,500 the digital music business came in at a whopping 80%. Expected Return (%) 41.7 EPS Growth (12F, %) 151.5 Maintain Buy call with TP of W57,400 Market EPS Growth (12F, %) 19.1 We maintain our Buy call on SM Entertainment with a target price of W57,400. We P/E (12F, x) 13.0 raised our 2012 and 2013 EPS estimates by 2.4% and 10.4%, respectively, to Market P/E (12F, x) 9.3 reflect the companyÊs 1Q results. We project the companyÊs 2012 revenues and KOSDAQ 469.62 operating profit to soar by 71.2% YoY and 249.4% YoY, respectively. -
Lighting up the Night Rights Group Establishes Court Website by Winona Rajamohan STAFF WRITER
Wednesday, Volume 151 10.24.2018 No. 28 SERVING SAN JOSE STATE UNIVERSITY SINCE 1934 WWW.SJSUNEWS.COM/SPARTAN_DAILY Lighting up the night Rights group establishes court website By Winona Rajamohan STAFF WRITER Silicon Valley De-Bug is a grassroots organization based in San Jose advocating for political, cultural and social issues that affect the day-to-day life of its diverse local community. Tackling local policies, immigration, the criminal justice system and racial inequality, De-Bug uses sto- rytelling and community organizing to inform and educate the public about matters they believe should take the forefront of community discussions. The organization launched a new online platform on Oct. 11, called a Day in a California Court. It was designed to further expand their storytelling by running a public diary of California court systems, contributed by organizations similar to themselves, across the state. The platform provides a real-time win- dow into the happenings in courts around states through stories and videos posted by the local community as well as data and reports collected from local courtrooms. Visitors of the site are able to select between eight different counties to see the gathered information NICHOLAS ZAMORA | SPARTAN DAILY streamlined according to courts In coordination with The Burning Man Project and the City of San Jose Offi ce of Cultural Aff airs, the HAHA art piece by Laura Kimpton with Jeff Schomberg illuminates the Hammer Theatre downtown. COURTS | Page 2 Mental health app ‘Vibes’ with students By Claire Hultin experiencee with mentmentalal STAFF WRITER illness led him to whatwhat he is doinging now – developingg an app A Stanford alumnus to help pepeopleople and entrepreneur created who may feel tthehe an app called Vibe, which same way he fefeltlt has opened up to San Jose and helpingping State University students. -
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.