Figurative Language Used in Blackpink Featuring Selena Gomez's Song Lyric "Ice Cream": a Discourse Analysis
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2020-Commencement-Program.Pdf
THE JOHNS HOPKINS UNIVERSITY COMMENCEMENT 2020 Conferring of degrees at the close of the 144th academic year MAY 21, 2020 1 CONTENTS Degrees for Conferral .......................................................................... 3 University Motto and Ode ................................................................... 8 Awards ................................................................................................. 9 Honor Societies ................................................................................. 20 Student Honors ................................................................................. 25 Candidates for Degrees ..................................................................... 35 2 ConferringDegrees of Degrees for Conferral on Candidates CAREY BUSINESS SCHOOL Masters of Science Masters of Business Administration Graduate Certificates SCHOOL OF EDUCATION Doctors of Education Doctors of Philosophy Post-Master’s Certificates Masters of Science Masters of Education in the Health Professions Masters of Arts in Teaching Graduate Certificates Bachelors of Science PEABODY CONSERVATORY Doctors of Musical Arts Masters of Arts Masters of Audio Sciences Masters of Music Artist Diplomas Graduate Performance Diplomas Bachelors of Music SCHOOL OF NURSING Doctors of Nursing Practice Doctors of Philosophy Masters of Science in Nursing/Advanced Practice Masters of Science in Nursing/Entry into Nursing Practice SCHOOL OF NURSING AND BLOOMBERG SCHOOL OF PUBLIC HEALTH Masters of Science in Nursing/Masters of Public -
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 ................................................................................................................................. -
May 10, 2007 Senate Called to Order at 11:30 Am President
MAY 10, 2007 — DAY 95 3143 THE NINETY-FIFTH DAY CARSON CITY (Thursday), May 10, 2007 Senate called to order at 11:30 a.m. President Krolicki presiding. Roll called. All present. Prayer by the Chaplain, Reverend Jeffrey Paul. Almighty and eternal God, so draw our hearts to You, so guide our minds, so fill our imaginations, so quicken our wills, that we may be wholly Yours, utterly dedicated to You; and then use us, we pray, as You will and always to Your glory and the welfare of Your people. In Your Name, we pray, AMEN. Pledge of Allegiance to the Flag. Senator Raggio moved that further reading of the Journal be dispensed with, and the President and Secretary be authorized to make the necessary corrections and additions. Motion carried. REPORTS OF COMMITTEES Mr. President: Your Committee on Commerce and Labor, to which was referred Assembly Bill No. 88, has had the same under consideration, and begs leave to report the same back with the recommendation: Amend, and do pass as amended. RANDOLPH J. TOWNSEND, Chair Mr. President: Your Committee on Human Resources and Education, to which was referred Assembly Bill No. 432, has had the same under consideration, and begs leave to report the same back with the recommendation: Do pass. MAURICE E. WASHINGTON, Chair Mr. President: Your Committee on Judiciary, to which was referred Assembly Bill No. 279, has had the same under consideration, and begs leave to report the same back with the recommendation: Amend, and do pass as amended. MARK E. AMODEI, Chair MOTIONS, RESOLUTIONS AND NOTICES By the Committee on Legislative Operations and Elections: Senate Resolution No. -
YG Entertainment Buy (122870 KQ ) (Maintain)
[Korea] Entertainment May 13, 2021 YG Entertainment Buy (122870 KQ ) (Maintain) Increasing content leverage TP: W56,000 Upside: 25.8% Mirae Asset Securities Co., Ltd. Jeong -yeob Park [email protected] 1Q21 review : Big earnings beat Consolidated revenue of W97bn (+83.9% YoY), OP of W9.5bn (turn to profit YoY) In 1Q21, YG Entertainment proved its enhanced fundamentals by overcoming the absence of offline performances/activities with the release of new content (Rosé and Treasure). Revenue from albums/digital content/goods was up 170.6% YoY, driven by strong sales of albums (980,000 copies; helped by new releases) and goods. Digital content revenue surged 125.6% YoY, boosted by BLACKPINK’s online concert (280,000 paid views and net revenue of around W8bn). Revenue from Google came in strong at W4.5bn (excluding BLACKPINK concert; vs. W2.5bn in 1Q20) on the back of new releases and subscriber growth. Despite constraints on artist activities, management revenue expanded 44.7% YoY, fueled by luxury advertisers’ (Dior, Saint Laurent and Tiffany & Co.) strong preference for YG artists. Elsewhere, the company recorded W15.6bn from TV production (YG Studioplex’s Mr. Queen ) and a valuation gain of roughly W5bn related to Tencent Music Entertainment. Expectations on 2H21 artist Artist activities to gather steam; IP monetization to strengthen on Weverse incl usion activities and Weverse 1) Earnings: During the 2018-20 absence of its main artist group, YG Entertainment built a robust lineup that includes BLACKPINK, Treasure, and iKON. We expect robust ad and appearance income to continue, supported by the growing international profile of the company’s artists. -
CHAPTER II LITERATURE REVIEW 2.1. Theoretical Review
CHAPTER II LITERATURE REVIEW 2.1. Theoretical Review 2.1.1 Korean Pop Psy was the first Korean artist that debut his career as the global pop star with his hit single Gangnam Style in 2012 (Billboard, 2018). Formerly, there were also other boy and girl groups from Korea that have entranced a massive number of young Asian and European fans. They were rushed to quickly sold outlive concerts and/ or YouTube for instant and free access to music videos but not as successful as Psy. If we see from the root, Korean culture was firstly known because of their Korean Drama in around 2002. Their first drama series called Winter Sonata was first aired at Korean Broadcasting System (KBS) and became an overnight sensation not only in Korea but also in Japan. It was presumed to be signaled for many the beginning of the Korean Wave. Besides, the joint hosting between Japan and South Korea of the 2002 World Cup also becoming the reason people start to recognized the Korean culture. These past years, K-Pop is like a never-ending story people from around the world which are now constantly discovered this genre. With the help of Internet, K-Pop is aggressively entering the global industry. People do not only enjoy the music but also K-Pop’s star show their significant 8 fashion style and people surprisingly adapt to this style. As the investigation from BBC 1 Radio (2018), it discovered that Korean fashion is different than the other styles. In every performance the K-Pop star is required to wearing fashionable outfits and even their airport outfits are becoming something essential. -
Annual Report | July 2018 –June 2019
The Frick Collection membersannual report’ magazine july winter2018–june 2011 2019 The Frick Collection annual report july 2018–june 2019 leadership 2 Board of Trustees report of the director 3 Ian Wardropper, Anna-Maria and Stephen Kellen Director collection 6 Museum Acquisitions & Notable Library Acquisitions 7 Public Programming financial statements 10 Statement of Financial Position 11 Statement of Activities donor support and membership 12 Gifts and Grants 17 Director’s Circle 18 Fellows and Friends 23 Young Fellows 26 Annual Fund 28 Committees 29 Corporate Members and Sponsors 29 Henry Clay Frick Associates 30 Exhibition Support 32 The Frick Collection Staff cover Luigi Valadier (1726–1785), detail of Herm of Bacchus, 1773, bronze, alabastro a rosa, bianco e nero antico, and africano verde, Galleria Borghese, Rome; photograph by Mauro Magliani The Frick Collection Board of Trustees As of June 30, 2019 Elizabeth M. Eveillard, Chair Aso O. Tavitian, Vice Chair Juan Sabater, Treasurer Michael J. Horvitz, Secretary Peter P. Blanchard III Margot Bogert Ayesha Bulchandani Tai-Heng Cheng Bradford Evans Kathleen Feldstein Barbara G. Fleischman Emily T. Frick Christian Keesee Sidney R. Knafel James S. Reibel, M.D. Charles M. Royce Stephen A. Schwarzman Bernard Selz Victoria Lea Smith Melinda Martin Sullivan J. Fife Symington IV Ian Wardropper, ex officio President Emerita Helen Clay Chace Trustees Emeriti I. Townsend Burden III L. F. Boker Doyle Franklin W. Hobbs Howard Phipps Jr. Annual Report July 2018–June 2019 2 Service, which recognized the Frick’s respon- The shows in 2019 continued to impress Letter from the Director siveness to community feedback while for- with their scholarly innovation, beginning mulating our renovation proposals. -
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. -
Analysis of the Global-Local-Global Strategy in K-Pop Music Videos
Analysis of the global-local-global strategy in K-pop music videos Yasmine El Ouahi Hajji Tutor: Núria Vergés Bosch Bachelor’s Degree in International Business Faculty of Economics and Business University of Barcelona ABSTRACT K-pop music videos are a global sensation that are breaking YouTube streaming records since the virality of the hit single ‘Gangnam Style’ by PSY in 2012. After that, South Korean pop music artists and bands such as BTS or BLACKPINK kept dominating international charts and winning the admiration of millions of fans through their music videos. According to academic researchers, this was made possible because of a unique internationalization strategy called global-local-global which consists of the hybridity of cultural product by combining global production factors to a South Korean product with the goal of reaching an international audience by using a foreign distributor channel (YouTube). To understand the characteristics and evolution of this method, K-pop music videos with most YouTube views of each year from 2012 up to 2020 where analyzed. The aspects discussed and their respective evolution throughout the years were the nationality of the K-pop music videos producers, the identification of Korean and foreign elements in the visuals, the use of English in the lyrics, music style, the artists looks and also the use of YouTube digital tools. From the analysis of the music videos, the factors that did help with the popularity of K-pop where the progressive increase of English in the lyrics compared to Korean, the quality camerawork and great scenography together with the use of choreographies and YouTube hashtags and subtitles. -
BTS Versus Blackpink Korean Boy Bands Are Subverting Gender Stereotypes; Korean Girl Groups Are Reinforcing Them by OPHELIE SURCOUF
English EST 1995 GREATER CHINA NORTHEAST ASIA SOUTHEAST ASIA SOUTH ASIA OCEANIA MIDDLE EAST WORLD OPINION TOPICS AT LIFE K-POP MAY 17, 2019 Korean boy band BTS at the 32nd Golden Disc Awards on January 10, 2018. Photo: WiKipedia Gender and genre: BTS versus Blackpink Korean boy bands are subverting gender stereotypes; Korean girl groups are reinforcing them By OPHELIE SURCOUF s any inhabitant of planet earth with access to a computer or TV will have noted, boy band BTS and girl group Blackpink are seismically A moving and shaking the global music scene, surfing a tidal wave of K- pop as it crashes upon global shores. The exposure of the two supergroups recently sky-rocketed to ever greater heights when, one after the other, they smashed YouTube records of “Most Viewed Clips in the first 24 Hours.” Blackpink was first with “Kill This Love” – ringing up 56.7 million views. Barely 24 hours later, BTS shattered that number, raising it by 20 million views, with “Boys with Luv.” Both have also performed on massive American stages – Saturday Night Live for BTS and the Coachella music festival for Blackpink. So has K-pop as a genre truly gone global? Or is it simply that, as the world goes gaga over the Bantang Boys, BTS is dragging Blackpink in its foaming wake? BTS Performs ‘Boy With Luv’ Sorry Blackpink, but… The two groups come from the same place and are often mentioned in the same breath. But when it comes to sales, the chasm between them is glaring. In 2019, Blackpink’s EP Kill This Love broke the record for the highest first-day sales for a girl group album with 78 275 copies sold, according to Hanteo. -
Effective Marketing Strategies in K-Pop Industry
Huy Quang Le Effective marketing strategies in K-pop industry Case study: TWICE - JYP Entertainment Bachelor Thesis Autumn 2018 Business School Degree Programme in International Business 2 SEINÄJOKI UNIVERSITY OF APPLIED SCIENCES Thesis abstract Faculty: Business School Degree Programme: International Business Specialisation: International Business Author(s): Huy Quang Le Title of thesis: Effective marketing strategies in K-pop industry Supervisor(s): Miia Koski Year:_2018 Number of pages: 28 Number of appendices: 1 Twice is currently leading girls group in the K-pop music industry. The group has attracted a significant number of fans not only in South Korea but also all around the world, thanks to spectacular marketing strategies from their managing company- JYP Entertainment. The aim of this thesis is to have a closer look on what are the key marketing strate- gies that JYP Entertainment has used to promote for Twice. There are two main parts in this thesis: theoretical framework and empirical study. In the theoretical part, a basic principle of marketing has been introduced as well as digital and social me- dia marketing. Moreover, a brief introduction about K-pop industry, JYP Entertain- ment, the girl group Twice and their marketing methods has also been presented as well as how K-pop, a music style with vast of audio-visual components has become a phenomenon worldwide. In the empirical part, a quantitative survey of random 100 people who interested in K-pop music was conducted to analyse the potential customers group and their be- haviour. Eventually, the results will help the entertainment companies creating a marketing strategy to attract more fans for their artists. -
Representasi Perempuan Pada Poster Teaser Album K-Pop Blackpink Dan Twice
REPRESENTASI PEREMPUAN PADA POSTER TEASER ALBUM K-POP BLACKPINK DAN TWICE Yongkie Angkawijaya, Yudhistya Ayu Kusumawati Visual Communication Design Department, School of Design, Bina Nusantara University, Jakarta, Indonesia 11480 email: [email protected], [email protected] ABSTRAK K-Pop telah menjadi fenomena global dikenal dengan istilah hallyu. Bentuk invasi global tersebut mulai dari makanan Korea, gaya fashion, perawatan kecantikan, hingga musik K-Pop. Hingga beberapa dekade saat ini terdapat banyak grup K-Pop yang dikuasai oleh agensi besar seperti YG, JYP, dan SM Entertainment. BLACKPINK K-Pop grup yang dibentuk oleh YG Entertainment, sedangkan TWICE dari JYP Entertainment. Kedua K-Pop grup tersebut memiliki konsep yang berbeda yang direpresentasikan dalam desain poster teaser album. Paper ini mengeksplor konsep visual pada poster album BLACKPINK dan TWICE. Semiotika Roland Barthes digunakan untuk menganalisis representasi perempuan dalam poster album BLACKPINK dan TWICE. Pada penelitian ini ditemukan BLACKPINK menampilkan konsep girlpower dualitas antara hitam dan pink. Sedangkan TWICE lebih merepresentasikan konsep anak muda yang penuh semangat, keceriaan dan energik. Kata Kunci: Analisis Visual, Representasi Perempuan, Poster Album, K-Pop ABSTRACT K-Pop has become a global phenomenon. People call it Hallyu, the Korean wave which has become a major driver of global culture. It has been seen on various aspects such as drama, fashion style, makeup or skincare, and music performance. There are many Korean groups now and K-Pop agencies such as YG, JYP and SM Entertainment. BLACKPINK is one of the most famous South Korea girl groups formed by YG Entertainment. TWICE is girl group formed by JYP Entertainment. Both BLACKPINK and TWICE portrays powerful and strong concept represented in their poster album. -
YG Entertainment (122870 KQ ) Buying Opportunity Amid Shifting Perceptions
YG Entertainment (122870 KQ ) Buying opportunity amid shifting perceptions Entertainment Shifting perceptions: 1) Normalized lineup and new artist momentum Concerns over YG Entertainment’s artist void are dissipating. The company’s star group Big Bang is preparing to make a comeback, and at least one new act will debut this Company Report year. The company will have a total of five groups that can go on overseas arena tours, February 27, 2020 and we see potential for additional growth. Big Bang will make its long-awaited comeback at the US Coachella festival in April. With their contract almost certain to be renewed, the group is likely to release a new album and embark on a world tour. We expect to see additional positive headlines soon . BLACKPINK is set to make its return with the release of a new album around April , which (Upgrade) Buy is likely to include major collaborations related to its partnership with Universal Music Group . The group is also planning to tour the US and Europe, and the minimum Target Price (12M, W) 40,000 guarantee for the concerts is likely to be raised from last year, leading to a meaningful profit contribution. Meanwhile, iKON returned to the stage in early 2020 as a six-member Share Price (02/26/20, W) 31,750 group. For Treasure 12, whose debut was postponed for a year due to a scandal, the company is currently working on pre-marketing ahead of the group’s official debut. Expected Return 26% Shifting perceptions: 2) Discontinuation of loss-making operations to accelerate profit improvement YG Entertainment is unloading its new businesses and instead focusing on its core OP (19P, Wbn) 1 businesses.