How Becoming Generalists Affects the Performance of Low Status Artists in Kpop
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國立中山大學企業管理學系 碩士論文 Department of Bussiness Management National Sun Yat-sen University Master Thesis 演藝圈中地位較低者是否能透過成為通才提升成績 How Becoming Generalists affects the Performance of Low Status Artists in Kpop 研究生：張叡哲 Jui-Che Chang 指導教授：韋岱思 博士 Dr. Thijs Velema 中華民國 108 年 8 月 August 2019 i 摘要 演藝圈中眾多演藝人員的競爭中，往往只有少數巨星能取得足夠能見度並在該領域成 功。但對於非巨星或是尚未闖出一定地位之藝人而言，要怎麼做才能成功呢? 在這個娛樂產業蓬勃發展的時代，競爭程度隨之上升，有才華的藝人要如何透過商業 與策略取得成功而非被埋沒在人海中? 尤其以競爭最激烈的韓國娛樂圈為例，又該怎麼做才 能從每年上百組出道藝人中脫穎而出呢? 本研究透過韓國娛樂產業中 Melon.com 每週暢銷歌曲排行榜成績資料作為分析依據。 以每首歌在排行榜中取得之最佳排名與停留在排行榜時間作為成功與否指標，並以韓國藝人 之地位差異和其過去作品經驗偏向專才或通才之交互作用作為主要變數。其中地位將以歌手 與偶像兩類別作為區分，而通才/專才之經驗會以其過往跨領域的程度(niche width)作為指 標，並量測這兩個主要變數對於演藝人員成績影響程度。 韓國偶像的粉絲往往將轉型與否視為一個藝人發展的指標，但藝人卻不一定願意跨入 自己不熟悉的領域，可以看出觀眾與藝術家之間的不同考量。因此我希望透過此研究之結 果，期待能為競爭程度高但成功機會低之文化、娛樂、音樂或藝術產業之藝術家們提供未來 發展之策略建議，並增加具有才華但缺乏關注之藝術家被大家看見的機會。 關鍵字: 地位、通才、專才、娛樂產業、韓國藝人 ii Abstract What kind of artists are more likely to reach success in cultural industry? Usually only the higher status artists, such as superstars, are the ones being focused by most of the audience. However, not everyone can be superstars, what should those lower status artists do to reach success? In cultural industries nowadays, the competition betweeen artists become more and more intensive. How do those artists with great talent stand out from the crowds? Especially for Kpop artists, how do they survive from competing against in the environment where hundreds of artists debuted. In my reserach, I use weekly charts of Melon.com, a Kpop music site as my data source to examine the interaction between status and experience of being a specialist or a generalist in each artist’s career. In addition, I use best ranks and duration of each songs of Kpop artists to indicate the success. I hope to help those artists to have a better strategy to reach success in the market which becomes more and more intensive, especially those who are talented but still struggling eager to reach success with my research. Keywords: Status, Specialist, Generalist, Cultural Industries, Kpop iii Table of Contents Ch.1 Introduction .....................................................................................................................1 Ch.2 Theories ..........................................................................................................................4 2.1 The Concept of Status ............................................................................................................. 4 2.2 Generalists vs Specialists ......................................................................................................... 5 2.3 Interaction Between Status and Generalist/Specialist ................................................................... 8 2.4 Interaction Between Status and Generalist/Specialist of Agencies ............................................... 10 2.5 Interaction Between Status and Generalist/Specialist When Status Shifts ..................................... 11 Ch3. Selection of Research Object ........................................................................................... 13 3.1 Why Kpop? .......................................................................................................................... 13 3.2 Hierarchy Between Artists in Kpop ......................................................................................... 15 3.3 Power of Agencies and Trainee System in Korea ...................................................................... 17 Ch4. Data and Methods........................................................................................................... 19 4.1 Source of Data ...................................................................................................................... 19 Weekly Charts .................................................................................................................... 19 Artists’ Profile .................................................................................................................... 21 Songs ................................................................................................................................ 21 4.2 Data Overview ..................................................................................................................... 25 Dependent Variables ........................................................................................................... 28 Main Independent Variables ................................................................................................. 29 Control Variables ................................................................................................................ 30 4.3 Methods ............................................................................................................................... 35 Ch5. Results .......................................................................................................................... 37 Ch6. Discussions .................................................................................................................... 41 6.1 Discussion ........................................................................................................................... 41 6.2 Limitation ............................................................................................................................ 41 6.3 Conclusion ........................................................................................................................... 43 Ch7. Reference ...................................................................................................................... 45 iv Table of Figures Figure 1. Average annual income of Korean celebrities in 2016 ................................................ 13 Figure 2. Weeks of songs stay in the charts (9 songs that appeared longer than half of year were removed) ..................................................................................................................... 20 Figure 3. Trend of how ranking goes through weeks ................................................................ 21 Figure 4. Distribution of genres of songs that entered weekly charts in our dataset ...................... 22 Figure 5. Distribution of genres in the songs dataset of the 457 artists ........................................ 23 Figure 6. Distribution of how many artists each agency manages, the figure only shows those who manages more than 6 artists that appears in our dataset ..................................................... 25 Figure 7. Distribution of song width ...................................................................................... 27 Figure 8. Distribution of artist width ...................................................................................... 27 Figure 9. Distribution of agency width ................................................................................... 28 Figure 10. Relations between the 2 dependent variables, with the correlation = -0.6011 (23 songs whose duration longer than 75 weeks were removed from the chart)................................... 29 Figure 11. Distribution of how many artists do 3 kinds of agencies manage ................................ 31 Figure 12. Distribution of the groups each artist belongs to ...................................................... 32 Figure 13. Distribution of main music awards ......................................................................... 33 Figure 14. Distribution of competition intensity in the market ................................................... 33 Figure 15. Distribution of career songs .................................................................................. 34 Figure 16. Distribution of best ranking ................................................................................... 36 Figure 17. Distribution of duration ........................................................................................ 36 Figure 18. Distribution of ln(duration) ................................................................................... 36 v Table of Tables Table 1 ................................................................................................................................ 9 Table 2 .............................................................................................................................. 11 Table 3 .............................................................................................................................. 12 Table 4. Top 15 of “Top 40 Power Celebrities Of 2018” announced by Forbes Korea) ................ 14 Table 5. Example of how artist widths are calculated ............................................................... 24 Table 6. Overview of numeric variables ................................................................................. 26 Table 7. Distribution of idol-singers ...................................................................................... 26 Table 8. Overview of status .................................................................................................. 26 Table 9. Overview of factor control variables ......................................................................... 27 Table 10. Distribution of gender of artists .............................................................................. 30 Table 11. Full model with multilevel coefficients .................................................................... 40 vi Ch.1 Introduction What kind of artists are