Vol.005 FTISLAND / John-Hoon Vol.006 超新星 / MBLAQ Vol.007
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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). -
アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE
アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)（KOR） 1072528598 K-POP 2,290 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)（KOR） 1072528759 K-POP 2,290 https://tower.jp/item/4875653 100% (Korea) 28℃ ＜通常盤C＞ OKCK05028 K-POP 1,296 https://tower.jp/item/4825257 100% (Korea) 28℃ ＜通常盤B＞ OKCK05027 K-POP 1,296 https://tower.jp/item/4825256 100% (Korea) 28℃ ＜ユニット別ジャケット盤B＞ OKCK05030 K-POP 648 https://tower.jp/item/4825260 100% (Korea) 28℃ ＜ユニット別ジャケット盤A＞ OKCK05029 K-POP 648 https://tower.jp/item/4825259 100% (Korea) How to cry (Type-A) ＜通常盤＞ TS1P5002 K-POP 1,204 https://tower.jp/item/4415939 100% (Korea) How to cry (Type-B) ＜通常盤＞ TS1P5003 K-POP 1,204 https://tower.jp/item/4415954 100% (Korea) How to cry (ミヌ盤) ＜初回限定盤＞（LTD） TS1P5005 K-POP 602 https://tower.jp/item/4415958 100% (Korea) How to cry (ロクヒョン盤) ＜初回限定盤＞（LTD） TS1P5006 K-POP 602 https://tower.jp/item/4415970 100% (Korea) How to cry (ジョンファン盤) ＜初回限定盤＞（LTD） TS1P5007 K-POP 602 https://tower.jp/item/4415972 100% (Korea) How to cry (チャンヨン盤) ＜初回限定盤＞（LTD） TS1P5008 K-POP 602 https://tower.jp/item/4415974 100% (Korea) How to cry (ヒョクジン盤) ＜初回限定盤＞（LTD） TS1P5009 K-POP 602 https://tower.jp/item/4415976 100% (Korea) Song for you (A) OKCK5011 K-POP 1,204 https://tower.jp/item/4655024 100% (Korea) Song for you (B) OKCK5012 K-POP 1,204 https://tower.jp/item/4655026 100% (Korea) Song for you (C) OKCK5013 K-POP 1,204 https://tower.jp/item/4655027 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)（LTD） OKCK5015 K-POP 602 https://tower.jp/item/4655029 100% (Korea) -
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. -
URL 100% (Korea)
アーティスト 商品名 オーダー品番 フォーマッ ジャンル名 定価（税抜） URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)（KOR） 1072528598 CD K-POP 1,603 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)（KOR） 1072528759 CD K-POP 1,603 https://tower.jp/item/4875653 100% (Korea) 28℃ ＜通常盤C＞ OKCK05028 Single K-POP 907 https://tower.jp/item/4825257 100% (Korea) 28℃ ＜通常盤B＞ OKCK05027 Single K-POP 907 https://tower.jp/item/4825256 100% (Korea) Summer Night ＜通常盤C＞ OKCK5022 Single K-POP 602 https://tower.jp/item/4732096 100% (Korea) Summer Night ＜通常盤B＞ OKCK5021 Single K-POP 602 https://tower.jp/item/4732095 100% (Korea) Song for you メンバー別ジャケット盤 (チャンヨン)（LTD） OKCK5017 Single K-POP 301 https://tower.jp/item/4655033 100% (Korea) Summer Night ＜通常盤A＞ OKCK5020 Single K-POP 602 https://tower.jp/item/4732093 100% (Korea) 28℃ ＜ユニット別ジャケット盤A＞ OKCK05029 Single K-POP 454 https://tower.jp/item/4825259 100% (Korea) 28℃ ＜ユニット別ジャケット盤B＞ OKCK05030 Single K-POP 454 https://tower.jp/item/4825260 100% (Korea) Song for you メンバー別ジャケット盤 (ジョンファン)（LTD） OKCK5016 Single K-POP 301 https://tower.jp/item/4655032 100% (Korea) Song for you メンバー別ジャケット盤 (ヒョクジン)（LTD） OKCK5018 Single K-POP 301 https://tower.jp/item/4655034 100% (Korea) How to cry (Type-A) ＜通常盤＞ TS1P5002 Single K-POP 843 https://tower.jp/item/4415939 100% (Korea) How to cry (ヒョクジン盤) ＜初回限定盤＞（LTD） TS1P5009 Single K-POP 421 https://tower.jp/item/4415976 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)（LTD） OKCK5015 Single K-POP 301 https://tower.jp/item/4655029 100% (Korea) How to cry (Type-B) ＜通常盤＞ TS1P5003 Single K-POP 843 https://tower.jp/item/4415954 -
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). -
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. -
A Study on the Traditionalism of В€Œtrot∕ В€“ Focused on Yi Nanyз'ngв€™S В€Œtears of Mokpв€™Oв
Journal of Marine and Island Cultures (2016) xxx, xxx–xxx Journal of Marine and Island Cultures www.sciencedirect.com A study on the traditionalism of ‘‘trot” – Focused on Yi Nanyǒng’s ‘‘Tears of Mokp’o” Yujeong Chang * Dankook University, Republic of Korea Received 29 January 2016; accepted 5 April 2016 Abstract In this paper, I explore the significance of Yi Nanyǒng’s contribution to the history of Korean popular music through her song ‘‘Tears of Mokp’o.” Using the data I gathered from sur- veys and interviews as well as a formal analysis of the song, I expounded on the perceptional changes of ‘‘Tears of Mokp’o” from a hybrid colonial song to an ethnic, national song. For this purpose, I structured this paper as follows: In the second section, I looked into the meaning and changes in trot spanning different periods, and investigated the current public sentiment toward trot. In the third section, I examined Yi Nan-yǒng’s life and her songs, as well as the public opinion of her works via survey analysis. Finally, I expounded on the traditionalism found in ‘‘Tears of Mokp’o.” Through these materials, we could delineate how trot shifted from a foreign song to a traditional one. Ó 2016 Production and Hosting by Elsevier B.V. on behalf of Institution for Marine and Island Cultures, Mokpo National University. This is an open access article under the CC BY-NC-ND license (http:// creativecommons.org/licenses/by-nc-nd/4.0/). Introduction not an exception. Through the aforementioned process, trot became a mainstream genre. -
Ismert K-Pop Előadók Dalai 5
Ismert előadók híresebb dalai - 5 Írta: Edina holmes Mi is az a K-pop? VIII. Zene k-pop 094 Ezzel a résszel befejezzük az ismerkedést a k-pop dalokkal az első generációtól mostanáig. A változatosság érdekében nemcsak egy generációt veszünk végig a cikkben, hanem az összesből sze- mezgetünk időrendi sorrendben. Vágjunk is bele! A dalokat meghallgathatjátok az edinaholmes. com-on előadók szerinti lejátszólistákban. Psy Aktív évek: 2001-napjainkig Ügynökség: P Nation Híresebb dalai: Bird, The End, Champion, We Are The One, Delight, Entertainer, Right Now, Shake It, Gangnam Style, Gentleman, Daddy, Napal Baji, New Face, I Luv It Big Bang Sechs Kies Tagok száma: 4 J. Y. Park Tagok száma: 4 Aktív évek: 2006-napjainkig Aktív évek: 1994-napjainkig Aktív évek: 1997-2000; 2016-napjainkig Lee Hyori Ügynökség: YG Ügynökség: JYP Ügynökség: YG Aktív évek: 2003-napjainkig Híresebb dalaik: Lies, Last Farewell, Haru Haru, Híresebb dalai: Don’t Leave Me, Elevator, Híresebb dalaik: School Byeolgok, Ügynökség: Esteem Sunset Glow, Tonight, Love Song, Blue, Bad Boy, She Was Pretty, Honey, Kiss, Your House, Pom Saeng Pom Sa, Chivalry, Road Fighter, Híresebb dalai: 10 Minutes, Toc Toc Toc, Fantastic Baby, Monster, Loser, Bae Bae, Someone Else, You’re The One, Who’s Your Reckless Love, Couple, Com’ Back, Hunch, U-Go-Girl, Swing, Chitty Chitty Bang Bang, Bang Bang Bang, If You, Let’s Not Fall In Love, Mama?, I’m So Sexy, Fever, When We Disco Three Words, Be Well, Something Special Miss Korea, Bad Girls, Seoul, Black Fxxk It, Last Dance, Flower Road AniMagazin Tartalomjegyzék △ Zene k-pop 095 Legendás K-pop zenék - vol 8. -
Hallyu Across the Desert: K-Pop Fandom in Israel and Palestine
Hallyu across the Desert: K-pop Fandom in Israel and Palestine Nissim Otmazgin, The Hebrew University of Jerusalem Irina Lyan, The Hebrew University of Jerusalem Abstract This study examines the role that fan communities in Israel and Palestine play in the transcultural dissemination of Korean popular music, or “K-pop.” Based on in-depth interviews with fans, a survey of K-pop online communities, discourse analysis of online discussions, and participation in K-pop gatherings, this article examines the practice of K-pop, its localization and institutionalization, and its influence on the identities of fans. Special attention is given to the role of K-pop fans as cultural mediators who create necessary bridges between the music industry and local consumers and thus play a decisive role in globalizing cultures. Typically, literature on the globalization of popular culture either utilizes a top-down approach, depicting powerful media industries as making people across the world consume their products, or emphasizes a bottom-up resistance to the imposition of foreign cultures and values. This article suggests that popular culture consumption not only changes the lives of a few individuals but that these individuals may themselves play a decisive role in connecting globalized culture with local fandom. Keywords: K-pop, Hallyu, Israel, Palestine, Middle East, fandom Introduction Since around 2010, Korean popular music, or “K-pop,” has reached the Middle East via clusters of dedicated fans interested in Korean popular culture, commonly known as “Hallyu.” Bolstered by the power of social media as a means to access and consume cultural content, Korean movies, TV dramas, and, more recently, K-pop have managed to carve a niche among a growing group of consumers, especially young females. -
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. -
THIS ZINE KILLS FASCISTS When Improperly Ingested Letter from the Editor Table of Contents Well That Took a While
무료 Issue 24 THIS ZINE KILLS FASCISTS when improperly ingested Letter from the Editor Table of Contents Well that took a while. I’ve concluded it’s hard to motivate myself to 1. Cover write zines while I’m also working at a newspaper. Even if it’s “that” newspaper, it still lets me print a lot of crazy stuff, at least until I start 2. This Page pushing it too far. Issue 24 The last issue was starting to seem a little lazy, as I was recycling con- 3. Letters to the Editor June/Sept 2017 tent also published in the newspaper. For this issue I wanted to cut down on that, as well as on lengthy interviews. So we have a lot of smaller 4. Ash stories, and all sorts of other quick content. I interviewed a lot of people This zine has been published and sliced up their interviews into pieces here and there. I also filched a 5. Dead Gakkahs at random intervals for the lot of content from social media, mainly as PSAs. Think of it more as a past ten years. social media share/retweet, but on paper; hope no one’s pissed. 6. Pseudo & BurnBurnBurn There’s a page spread on Yuppie Killer memories I solicited way back Founders when Yuppie Killer had their last show. There’s also a similar spread on 7. WDI & SHARP Jon Twitch people’s memories of Hongdae Playground, where you can get a sense 8. Playground Paul Mutts of how radically the place has changed, as well as possibly the effect we had on it ourselves.