DOCSLIB.ORG

Oceanic Worldwide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oceanic Worldwide OCEANIC® VT Pro dive computer operating manual Components: a. LED Warning Light b. Advance (front) Button k j c. Smartglo Sensing Port l i d. Air Time Remaining Bar Graph e. Select (side) Button f. Icon - Operating Mode m h g. Icon - Time h. Variable Ascent Rate Indicator n i. Graphic - Depth g j. Graphic - Demo Mode k. Icon - Descend Arrow Icon - Decompression Ceiling o f Icon - Ascend Arrow l. Icon - Log Mode r m. Tissue Loading Bar Graph a n. Icon - Alarm (Set Mode) o. Icon - Temperature p. Battery Indicator p q. O2 (oxygen) Bar Graph e r. Graphic - Transmitter Link q d r c b VT PRO 2 CONTENTS LIMITED TWO-YEAR WARRANTY ............................................................................................................................. 7 NOTICES ..................................................................................................................................................................... 7 DECOMPRESSION MODEL ....................................................................................................................................... 7 FCC COMPLIANCE ..................................................................................................................................................... 8 FEATURES AND DISPLAYS ............................................................................................. 9 INTERACTIVE CONTROL CONSOLE ...................................................................................................................... 10 BAR GRAPHS ........................................................................................................................................................... 11 Tissue Loading Bar Graph (TLBG) ....................................................................................................................... 11 Oxygen Bar Graph (O2BG) ................................................................................................................................... 11 Variable Ascent Rate Indicator (VARI) ................................................................................................................. 12 Air Time Remaining Bar Graph (ATRBG) ............................................................................................................. 12 DIVE TIME REMAINING ........................................................................................................................................... 13 ALPHA / NUMERIC DISPLAYS ................................................................................................................................ 13 Cylinder Pressure ................................................................................................................................................. 13 Depth Displays ..................................................................................................................................................... 14 Time and Date Displays ....................................................................................................................................... 14 Temperature Display ............................................................................................................................................. 15 AUDIBLE ALARM ...................................................................................................................................................... 15 LED Warning Light ............................................................................................................................................... 15 SMARTGLO BACKLIGHT ......................................................................................................................................... 17 POWER SUPPLY ...................................................................................................................................................... 17 Low Battery Condition .......................................................................................................................................... 18 FO2 MODE ................................................................................................................................................................. 19 FO2 50% Default .................................................................................................................................................. 20 3 CONTENTS (continued) SETUP AND ACTIVATION ............................................................................................... 21 PRESSURE TRANSMITTER .................................................................................................................................... 22 ACTIVATION .............................................................................................................................................................. 22 Display Module Identification ............................................................................................................................... 24 SURFACE MODE ...................................................................................................................................................... 25 Accessing Other Modes ....................................................................................................................................... 26 SET MODES .............................................................................................................................................................. 26 ENTERING SETTINGS -SET MODE #1 ............................................................................................................... 27 ENTERING SETTINGS -SET MODE #2 ............................................................................................................... 30 PLAN AND DIVE MODES ................................................................................................ 45 TRANSMITTER SIGNAL RECEPTION GUIDE ........................................................................................................ 46 POSITIONING OF THE DISPLAY MODULE ............................................................................................................ 47 LINK INTERRUPTION UNDERWATER .................................................................................................................... 47 PRE DIVE PLANNING SEQUENCE ......................................................................................................................... 48 TISSUE LOADING BAR GRAPH .............................................................................................................................. 50 OXYGEN ACCUMULATION BAR GRAPH ............................................................................................................... 50 VARIABLE ASCENT RATE INDICATOR .................................................................................................................. 51 AIR TIME REMAINING BAR GRAPH ....................................................................................................................... 51 CONTROL OF DISPLAYS ......................................................................................................................................... 52 NO DECOMPRESSION DIVE MODE ....................................................................................................................... 53 No Decompression Dive Safety Stop ................................................................................................................... 54 DECOMPRESSION DIVE MODE ............................................................................................................................. 55 VIOLATION MODES .................................................................................................................................................. 57 Conditional Violation Mode .................................................................................................................................. 57 Delayed Violation Modes ..................................................................................................................................... 58 Immediate Violation Mode and Gauge Mode ...................................................................................................... 60 HIGH PO2 DIVE MODE ............................................................................................................................................. 61 HIGH OXYGEN ACCUMULATION ............................................................................................................................ 62 USER SET DIGITAL GAUGE MODE ........................................................................................................................ 63 4 CONTENTS (continued) POST DIVE MODES ........................................................................................................ 65 POST DIVE SURFACE MODE .................................................................................................................................. 66 TRANSITION PERIOD .............................................................................................................................................. 66 AFTER THE TRANSITION PERIOD (THE FIRST 2 HOURS) .................................................................................. 67 To access the Pre Dive Planning Sequence .......................................................................................................
Load more

Recommended publications
  • 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.
    [Show full text]
  • O Fenômeno K-Pop – Reflexões Iniciais Sob a Ótica Da Construção Do Ídolo E O Mercado Musical Pop Sul-Coreano1
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 40º Congresso Brasileiro de Ciências da Comunicação – Curitiba - PR – 04 a 09/09/2017 O FENÔMENO K-POP – REFLEXÕES INICIAIS SOB A ÓTICA DA CONSTRUÇÃO DO ÍDOLO E O MERCADO MUSICAL POP SUL-COREANO1 Letícia Ayumi Yamasaki2 Rafael de Jesus Gomes3 Universidade do Estado de Mato Grosso (UNEMAT) Resumo: A finalidade deste artigo é discutir de que forma a indústria fonográfica começa a se reinventar a partir da abrangência da internet e da cultura participativa (JENKINS, 2008) e suas estratégias para sobreviver nesse mercado. Dessa forma, pretende-se analisar aqui o fenômeno K-Pop (Korean Popular Music) e suas técnicas para a construção do ídolo, licenciamento de produtos e seu respectivo sucesso no mercado global de música. A partir de uma reflexão inicial, discutiremos aqui como a indústria cultural está absorvendo esses elementos e construindo novos produtos. Como aporte metodológico, reuniu-se a pesquisa bibliográfica a partir dos conceitos sobre produtos culturais, economia afetiva além de pesquisa em sites focados no universo da cultura Pop Sul-Coreana. Palavras-chave: K-Pop, convergência, estratégias, indústria cultural 1. INTRODUÇÃO Um mercado que fatura bilhões de dólares por ano, altamente influenciado pelo uso de tecnologias durante o processo de produção, consumo e sua relação com a lógica do capital (BOLAÑO, 2010); (ARAGÃO, 2008); (BRITTOS, 1999); (DIAS, 2010). Este é o cenário da indústria fonográfica que, nos últimos 20 anos precisa lidar com o faturamento de suas produções e, ao mesmo tempo, precisa também se adaptar aos processos de compartilhamento via aplicativos, streamings e serviços on demand (JENKINS, 2008); (KELLNER, 2004).
    [Show full text]
  • 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.
    [Show full text]
  • Program Studi Ilmu Komunikasi Fakultas Ilmu Sosial Dan Ilmu Politik Universitas Sumatera Utara
    KONSTRUKSI CITRA GRUP IDOLA JEPANG AKB48 DALAM PROGRAM ACARA TELEVISI PRODUCE 48 (Analisis Framing Robert Entman Mengenai Citra Grup Idola Jepang AKB48 pada Program Acara Televisi Korea Selatan Produce 48 oleh MNET) SKRIPSI ALDO ARINATA NAINGGOLAN 150904068 Public Relations PROGRAM STUDI ILMU KOMUNIKASI FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS SUMATERA UTARA MEDAN 2019 Universitas Sumatera Utara KONSTRUKSI CITRA GRUP IDOLA JEPANG AKB48 DALAM PROGRAM ACARA TELEVISI PRODUCE 48 (Analisis Framing Robert Entman Mengenai Citra Grup Idola Jepang AKB48 pada Program Acara Televisi Korea Selatan Produce 48 oleh MNET) SKRIPSI Diajukan sebagai salah satu syarat untuk memperoleh gelar sarjana Program Strata-1 pada Program Studi Ilmu Komunikasi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Sumatera Utara ALDO ARINATA NAINGGOLAN 150904068 Public Relations PROGRAM STUDI ILMU KOMUNIKASI FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS SUMATERA UTARA MEDAN 2019 i Universitas Sumatera Utara LEMBAR PERSETUJUAN Skripsi ini ditujukan untuk dipertahankan oleh: Nama : Aldo Arinata Nainggolan NIM : 150904068 Judul Skripsi : “Konstruksi Citra Grup Idola Jepang AKB48 dalam Program Acara Televisi Produce 48 (Analisis Framing Robert Entman Mengenai Citra Grup Idola Jepang AKB48 pada Program Acara Televisi Korea Selatan Produce 48 oleh Mnet)” Dosen Pembimbing Ketua Departemen Munzaiman Masril S.Sos., M.I.Kom Dra. Dewi Kurniawati, M.Si., Ph.D NIP. 198011072006042002 NIP. 196505241989032001 Dekan FISIP USU Dr. Muryanto Amin S.Sos, M.Si NIP. 19740930 2005011002
    [Show full text]
  • Entertainment&Media
    ENTERTAINMENT&MEDIA CJ E&M CJ CGV CJ HELLOVISION 1 CJ E&M is Asia’s No.1 integrated contents company, offering a variety of contents and platform services, including media, movies, live entertainment, and games. CJ E&M leverages synergies by converging a myriad of contents to lead the global Hallyu with new contents developed for one source for multi-use. 25 Korea’s first Multiplex Theater CGV boasts the largest number of cinemas in Korea and the greatest brand power. CGV has continued to develop a unique cinema experience so that the audience can watch a movie within the optimal environment. Cultureplex offers a new paradigm in movie theaters and is just one of the many innovations that CJ has brought to the movie industry. 41 CJ HelloVision is a leader in the smart platform market, delivering valuable contents and information to customers. CJ HelloVision provides you with advanced services fit for the new media environment. Its products include smart cable TV ‘hello tv Smart,’ digital cable TV ‘hello tv,’ fast speed internet ‘hello net,’ internet home telephone ‘hello fone,’ Korea’s No.1 budget phone service ‘hello mobile’ and the N screen service ‘tving.’ CJ E&M CJ CGV CJ HELLOVISION 2 3 BUSINESS OVERVIEW FINANCIAL HIGHLIGHTS CJ E&M Weight of each business Sales by year (Unit: billion won) CJ E&M Center, 66, Sangamsan-ro, Mapo-gu, Seoul as % of sales www.cjenm.com (As of 2013) 2013 1,716.1 2012 1,394.6 29% Asia’s No.1 Total Contents Company CJ E&M, 2011 1,279.2 45% creating a culture and a trend 12% Media Sales Profit by Year (Unit: billion won) Game 14% CJ E&M is the No.1 total contents company creating culture and trends.
    [Show full text]
  • 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.
    [Show full text]
  • Modular Geometric Organism: the Amoebic Movement in K-Pop Performance
    Jeremy Chang-ling Hsu Modular Geometric Organism: The Amoebic Movement in K-Pop Performance Abstract In this article I consider K-Pop music videos a newly contagious amoeba to explore how K-Pop performance moves us and how its amoebic body moves in and out of the screen. Using research drawn from Posthumanism, I argue that technics opens up the border of human body through programmability, promoting the cyborgian assemblage that suggests the mobility of technics and the technicity of human bodies. In particular, I focus on the choreography of K-Pop, which I argue is a modular geometric organism that consists of human prosthesis and shares the same quality of the amoebic movement, in order to suggest that this contagious media is able to extend its pseudopods to engulf viewers while listening, watching, and recreating the performance. Due to the immersiveness of K-Pop performance videos, their amoebic movement is perceived more easily, and reshapes the relationship between the viewers and the videos, creating a new organism in their digital circulation. K-Pop, as one of the strongest popular cultural same choreography, soundtrack, facial expressions trends, breaks the obstacle of language and creates of the artists, and camera movement, while the a newly contagious vibe through its catchy songs only difference is the outfits on the performers that and synchronization of memorable choreographies. marks the distinction of space and time. The visuals of K-Pop performance is known to be As Steven Shaviro stated in Connected, Or orderly arranged, creating a symmetrical, harmonic What it Means to Live in the Network Society, “a movement that reshapes human bodies, and the network is a self-generating, self-organizing, self- extreme measures that allow for this presentation sustaining system.”1 This system functions like an are intense training or strict diet plans executed by organism that passes on its genetically identical the entertainment agency.
    [Show full text]
  • Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
    ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
    [Show full text]
  • A Note from Alexandra Leigh Young
    A NOTE FROM ALEXANDRA LEIGH YOUNG I can split my life into two distinct halves: the time before I knew about K-pop and the time after. It all started in 2014, when I quit my job in New York City and moved to South Korea for a tiny artist residency and to report on the music industry there. I was instantly hooked. K-pop is epic—the personalities are irresistible, the visuals are dazzling, and the music is so catchy, you’ll wash your hair twice just to keep singing it in the shower. But then a friend told me I could actually see idols “up close and personal” at a show called M Countdown. I wasn’t sure what he meant, but nothing could have prepared me for what I experienced. As I waited outside the M Countdown studios with about a hundred other fans, a small van with tinted windows rolled right up to us. To my utter surprise, the six poised but humble members of Teen Top emerged in their matching black suits and stepped right into the crowd. To my even greater shock, the people in line with me didn’t scream or try to mob them; they were just as gracious as the idols themselves. Teen Top signed autographs, posed for photos, bowed and thanked the grateful crowd, then loaded back up into the van and drove off. It was unlike anything I had seen back when I used to tour manage for pop bands in the United States, where artists keep rabid fans at arm’s length.
    [Show full text]
  • Tiffany Dating Lee Chul Woo Pas Un Prince Charmant Et Je Ne Viendrai Pas Vous Chercher Sur Un Cheval Blanc
    Je ne suis Tiffany Dating Lee Chul Woo pas un prince charmant et je ne viendrai pas vous chercher sur un cheval blanc. Je ne cherche pas non plus une princesse pour Tiffany Dating Lee Chul Woo m'accueillir dans son château ou l'accueillir dans le mien (je n'ai pas de château de toute façon). Pour éviter les effets néfastes du quotidien, le mieux Tiffany Dating Lee Chul Woo est que /10(). Tiffany Dating Lee Chul Woo ehrlich Tiffany Dating Lee Chul Woo bedeute..t. Tiffany Dating Lee Chul Woo Sie sollten gleich groß oder größer, treu, humorvoll und bodenständig sein. Da ich eine Hündin habe, solltest du keine Tierhaarallergie haben/10(). Tiffany Dating Lee Chul Woo L. G., Jürgen Kontakt aufnehmen. Suche feste Partnerschaft Ich bin 49 Jahre alt und cm groß, blonde Haare. In meiner Freizeit verreise ich gerne, Gehe auch ins Kino u.s.w Wenn du zwischen 55 Jahre alt bist und dann /10(). Tiffany Dating Lee Chul Woo, what are the most popular dating sites online free, marriage not dating ep 13 subtitle indonesia frozen, gta iv internet cafe dating. D- Hermsdorf. I am ready to have a family D Erfurt - Dittelstedt/10(). Tiffany Dating Lee Chul Woo Du solltest gleich groß oder größer sein, treu, humorvoll berufstätig und bodenständig. Da ich eine Hündin habe solltest du keine Tierhaarallergie haben. Ehrlichkeit ist mir sehr wichtig und gute Gespräche führen können. Ich gehe gerne in Urlaub und wandern, bin gerne in der Natur, liebe die Berge und das Meer. Tiffany Dating Lee Chul Woo Provision vom jeweiligen Anbieter.
    [Show full text]
  • Facultad De Ciencias Sociales Y Jurídicas
    FACULTAD DE CIENCIAS SOCIALES Y JURÍDICAS GRADO EN COMUNICACIÓN AUDIOVISUAL Título: ESTUDIO DEL IMPACTO DE LA INDUSTRIA MUSICAL SURCOREANA EN OCCIDENTE A TRAVÉS DEL VIDEOCLIP TRABAJO DE FIN DE GRADO DE INVESTIGACIÓN BIBLIOGRÁFICA 2018/2019 Alumno: Adrián Salguero Vico Tutor: Vicente Javier Pérez Valero 1 ÍNDICE 1. Resumen / abstract …………………………………………………………….. 4 2. Palabras clave / keywords …………………………………………………….. 6 3. Introducción……………………………………………………………………….6 4. Hipótesis………………………………………………………………………….. 7 5. Objetivos…………………………………………………………………………..7 6. Estado de la cuestión y marco teórico…………………………………………8 1. Base y orígenes del fenómeno K-POP………………………………..8 2. Era dorada - Viralización y aparición de YouTube (2009-2015) 1. Videoclip y YouTube…………………………………………….10 2. La 2º generación del K-POP………………………………….. 12 3. Viralización y boom 2012……………………………………... 14 3. Estado actual – nuevos grupos y fórmulas (2015 – actualidad) 1. Expansión del fenómeno fan………………………………….. 17 2. Reconocimiento y expansión…………………………………. 19 3. Marcando la diferencia………………………………………… 20 7. Metodología……………………………………………………………………… 24 8. Resultados……………………………………………………………………….. 25 9. Conclusiones…………………………………………………………………….. 29 10.Bibliografía………………………………………………………………………. 32 11.Anexos 1. Encuesta sobre consumo musical y de K-POP………………………34 2. Resultados de la encuesta…………………………………………….. 51 3. Tabla – análisis videoclips………………………………………………61 2 TABLAS Tabla 1 – Resumen de videoclips visionados…………………………………25 Tabla 2 – Resultados de encuesta……………………………………………..26 GRÁFICOS Gráfico
    [Show full text]
  • Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung
    Vassar College Digital Window @ Vassar Senior Capstone Projects 2012 Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Part of the Film and Media Studies Commons Recommended Citation Leung, Sarah, "Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music" (2012). Senior Capstone Projects. 149. http://digitalwindow.vassar.edu/senior_capstone/149 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Media Studies Senior Thesis Thesis Adviser: Tarik Elseewi April 20, 2012 Chapter List: I. Going with the Flow: K-Pop and the Hallyu Wave…….…………………………………2 1. Introduction…………………………………………………..……………………2 2. So What is K-Pop? Local vs. Global Identities……………...…………….…….10 II. Making the Band: K-Pop Production………………….…….…….….….………………25 1. The Importance of Image……………………………………………..………….25 2. Idol Recruitment, Training, and Maintenance………………………….…..……28 III. Around the World: Patterns of K-Pop Consumption…………….….….…….………….34 1. Where is K-Pop being Consumed? …………………….….…………………….34 2. Interculture, Transnational Identity, and Resistance……...……………….……..42 IV. Crazed! The “Pop” in K-Pop………………………………………………………….…48 1. H.O.T.? Issues of Gender and Sexuality in K-Pop’s Appeal……..…..………….48 2. Fan Culture and Media Convergence………………...……………………….…69 V. Conclusions……………………………………………..………………………….…….77 Bibliography…………………………………………………………………………………85 Leung 1 I.
    [Show full text]