NEWS Jyjs Jaejoong Poses with Aziatix and Supports Their Newalbum
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Published 22 February 2019 LKFF 2012
THE LONDON KOREAN FILM FESTIVAL 제7회 런던한국영화제 1-16 NoVEMBER StARTING IN LONDON AND ON TOUR IN BOURNEMOUTH, GlASGOW AND BRISTOL 12�OZE�293 OZ Quadra Smartium(Film Festival).pdf 1 10/18/12 6:14 PM A MESSAGEUR ROM O TOR LONDON-SEOUL, DAILY F TIC DIREC ASIANA AIRLINES ARTIS is redefining It is with great pride and honour that I welcome you to the 7th London Korean Film Festival. Regardless of whether you are a connoisseur of Korean cinema or completely Business Class. new to the country’s film scene, we have created an exciting and varied C Beginning November 17th, all the comforts of programme that will delight, thrill, scare and, most importantly, entertain you. M our new premium business class seat, Y the OZ Quadra Smartium, can be yours. We start off large with our return to the Odeon West End with one of the CM There’s a wonderful new way to get back and biggest Korean films in the last ten years;The Thieves. Our presentation MY forth to Seoul everyday. Announcing Asiana Airlines’ innovative of this exciting crime caper also sees its director, Choi Dong-hoon, and new premium business class seat, the OZ Quadra Smartium, lead actor Kim Yoon-suk gracing London’s Leicester Square. CY offering you both the privacy of your own space CMY and the relaxation of a full-flat bed. From the 2nd of November through to the 10th in London (continuing until the 16th in K Glasgow, Bristol and Bournemouth) we will show everything from the big box office hits to the smallest of independents, ending with the much-lauded Masquerade, as our closing Gala feature. -
Published 26 February 2019 LKFF 2018
1–25 NOVEMBER LONSM_350_ .pdf 1 2018. 8. 22. �� 8:48 It is my pleasure to introduce to you the 13th instalment of the London Korean Film Festival, our annual celebration of Korean Film in all its forms. Since 2006, the Korean Cultural Centre UK has presented the festival with two simple goals, namely to be the most inclusive festival of national cinema anywhere and to always improve on where we left off. As part of this goal Daily to Seoul and Beyond for greater inclusivity, in 2016 the main direction of the festival was tweaked to allow a broader, more diverse range of Korean films to be shown. With special themes exploring different subjects, the popular strands covering everything from box office hits to Korean classics, as well as monthly teaser screenings, the festival has continued to find new audiences for Korean cinema. This year the festival once again works with critics, academics and visiting programmers on each strand of the festival and has partnered with several university film departments as well. At the time of writing, this year’s festival will screen upwards of 55 films, with a special focus entitled ‘A Slice of Everyday Life’. This will include the opening and closing films, Microhabitat by Jeon Go-woon, and The Return by Malene Choi. C ‘A Slice of Everyday Life’ explores valuable snapshots of the sometimes-ignored M lives of ordinary Koreans, often fragile individuals on the edge of society. One Y will also see director Lee Myung-se's films in the Contemporary Classics strand and Park Kiyong's films in the Indie Firepower strand. -
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). -
Fenomén K-Pop a Jeho Sociokulturní Kontexty Phenomenon K-Pop and Its
UNIVERZITA PALACKÉHO V OLOMOUCI PEDAGOGICKÁ FAKULTA Katedra hudební výchovy Fenomén k-pop a jeho sociokulturní kontexty Phenomenon k-pop and its socio-cultural contexts Diplomová práce Autorka práce: Bc. Eliška Hlubinková Vedoucí práce: Mgr. Filip Krejčí, Ph.D. Olomouc 2020 Poděkování Upřímně děkuji vedoucímu práce Mgr. Filipu Krejčímu, Ph.D., za jeho odborné vedení při vypracovávání této diplomové práce. Dále si cením pomoci studentů Katedry asijských studií univerzity Palackého a členů české k-pop komunity, kteří mi pomohli se zpracováním tohoto tématu. Děkuji jim za jejich profesionální přístup, rady a celkovou pomoc s tímto tématem. Prohlášení Prohlašuji, že jsem diplomovou práci vypracovala samostatně s použitím uvedené literatury a dalších informačních zdrojů. V Olomouci dne Podpis Anotace Práce se zabývá hudebním žánrem k-pop, historií jeho vzniku, umělci, jejich rozvojem, a celkovým vlivem žánru na společnost. Snaží se přiblížit tento styl, který obsahuje řadu hudebních, tanečních a kulturních směrů, široké veřejnosti. Mimo samotnou podobu a historii k-popu se práce věnuje i temným stránkám tohoto fenoménu. V závislosti na dostupnosti literárních a internetových zdrojů zpracovává historii žánru od jeho vzniku až do roku 2020, spolu s tvorbou a úspěchy jihokorejských umělců. Součástí práce je i zpracování dvou dotazníků. Jeden zpracovává názor české veřejnosti na k-pop, druhý byl mířený na českou k-pop komunitu a její myšlenky ohledně tohoto žánru. Abstract This master´s thesis is describing music genre k-pop, its history, artists and their own evolution, and impact of the genre on society. It is also trying to introduce this genre, full of diverse music, dance and culture movements, to the public. -
IJAE.2019.9457249.Pdf (3.248Mb)
Research Article Comparative Study on Steady and Unsteady Flow in a Centrifugal Compressor Stage Changhee Kim 1 and Changmin Son 2 1School of Mechanical Engineering, Pusan National University, Busan, Republic of Korea 2Department of Mechanical Engineering, Virginia Polytechnic Institute and State University, Blacksburg, VA 24061, USA Correspondence should be addressed to Changmin Son; [email protected] Received 25 January 2019; Accepted 1 April 2019; Published 2 June 2019 Academic Editor: Giovanni Delibra Copyright © 2019 Changhee Kim and Changmin Son. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Steady Reynolds-averaged Navier-Stokes (RANS) simulation with the mixing-plane approach is the most common procedure to obtain the performance of a centrifugal compressor in an industrial development process. However, the accurate prediction of complicated flow fields in centrifugal compressors is the most significant challenge. Some phenomena such as the impeller- diffuser flow interaction generates the unsteadiness which can affect the steady assumption. The goal of this study is to investigate the differences between the RANS and URANS simulation results in a centrifugal compressor stage. Simulations are performed at three operating points: near surge (NS), design point (DP), and near choke (NC). The results show that the RANS simulation can predict the overall performance with reasonable accuracy. However, the differences between the RANS and URANS simulation are quite significant especially in the region that the flows are highly unsteady or nearly separated. The RANS simulation is still not very accurate to predict the time-dependent quantities of the flow structure. -
![Arxiv:2108.07200V1 [Eess.IV] 16 Aug 2021 Gives More Accurate and Consistent Spatiotemporal Calibra- RS Skew Comes Into Play](https://docslib.b-cdn.net/cover/0316/arxiv-2108-07200v1-eess-iv-16-aug-2021-gives-more-accurate-and-consistent-spatiotemporal-calibra-rs-skew-comes-into-play-870316.webp)
Arxiv:2108.07200V1 [Eess.IV] 16 Aug 2021 Gives More Accurate and Consistent Spatiotemporal Calibra- RS Skew Comes Into Play
Continuous-Time Spatiotemporal Calibration of a Rolling Shutter Camera—IMU System Jianzhu Huai Yuan Zhuang* Qicheng Yuan Yukai Lin Wuhan University Wuhan University Huawei Inc. Wuhan Hubei China Wuhan Hubei China Shanghai China [email protected] [email protected] [email protected] Abstract age to be captured with an inter-line delay. RS cameras are widely used in smartphones [7], mixed reality products The rolling shutter (RS) mechanism is widely used by [11], and autonomous driving cars [28]. Thanks to the RS consumer-grade cameras, which are essential parts in feature, these cameras have been used to measure distances smartphones and autonomous vehicles. The RS effect leads [12], to estimate motion at a high frequency [2], and to iden- to image distortion upon relative motion between a cam- tify modulated flickering LEDs [30]. On the other hand, RS era and the scene. This effect needs to be considered in introduces image distortion when there is relative motion video stabilization, structure from motion, and vision-aided between the camera and the scene. For better performance, odometry, for which recent studies have improved earlier this distortion needs to be considered in applications sensi- global shutter (GS) methods by accounting for the RS effect. tive to motion. In response, methods tailored to RS cameras However, it is still unclear how the RS affects spatiotempo- have been proposed for video stablization [24], camera cali- ral calibration of the camera in a sensor assembly, which bration [17], structure from motion [8], vision-aided odom- is crucial to good performance in aforementioned applica- etry [14], dense mapping [11], etc. -
Analysing Korean Popular Music for Global
Analysing Korean Popular Music for Global Audiences: A Social Semiotic Approach Jonas Robertson Paper originally submitted March 2014 to the Department of English of the University of Birmingham, UK, as an assignment in Multimodal Communication, in partial fulfillment of a Master of Arts in Teaching English as a Foreign / Second Language (TEFL / TESL). Assignment: MMC/13/04 Collect between three and five pieces of music that might be taken to represent a particular artist, genre, style, or mood and present an analysis in terms of the social semiotic approach to music. You might like to concentrate on one or more of the following: - Timing - Sound quality - Melody - Perspective - Tagg’s Sign Typology Reflect briefly on how useful you found the framework in identifying how the pieces of music you chose might work to make meanings. 1 Contents 1 Introduction 3 2 Background of Social Semiotics and Music 3 3 Framework for Analysis 4 4 Analysis A: Fantastic Baby by Big Bang 7 5 Analysis B: I Got a Boy by Girls’ Generation 8 6 Analysis C: The Baddest Female by CL 10 7 Analysis D: La Song by Rain 12 8 Discussion 14 9 Conclusion 15 References 17 Appendices 19 2 1 Introduction This paper documents the analysis of four sample selections of Korean popular music (K- pop) from a social semiotic approach to determine what meanings are conveyed musically. Each of these songs have been selected as examples of K-pop that have been designed to be marketed beyond the borders of Korea, targeting an increasingly global audience. Despite featuring primarily Korean lyrics, these major hits remain popular among the millions of fans overseas who cannot understand most of the words. -
Paradise Entertainment
Monday, September 29, 2014 China Merchants Securities (HK) Company Report Hong Kong Equity Research Paradise Entertainment (1180 HK) Angela HAN LEE +852 3189 6634 Initiate with BUY: Right segment, right product [email protected] ■ Initiate BUY with 12-month TP of HK$4.70, based on 0.6x FY15E PEG on 43.9% FY14E-17E EPS CAGR. WHAT’S NEW ■ Casino services focus solely on grind mass market with strong Initiation growth, outperforming Macau peers exposed to high-end market. ■ The sole live multi game (LMG) system and terminal supplier in BUY Macau. Upcoming Cotai properties and replacement demand imply good sales visibility. LMGs cater grind mass with low minimum bet Previous for table games. Price HK$3.28 12-month Target Price Catalysts for re-rating HK$4.70 (+43%) The company provides 1) casino services in Macau and 2) LMG sales to (Potential up/downside) Macau (monopoly protected by patent) and overseas casinos. Weak set Previous of 1H14 results and market sentiment caused the recent share price fall: 1) delayed LMG sales, 2) one-off early redemption loss of promissory Price Performance note, and 3) weak GGR trend of Macau. However, we expect to see two (%) major catalysts leading to strong earnings growth at 38.7%/42.7% in 400 1180 HSI Index FY14E/15E: 1) casino services keep growing strongly along with resilient 300 grind mass market (revenue up 28.6%/22.7% YoY in FY14E/15E) and 2) 200 increase in LMG deployment (revenue up 48.8%/80.0% in FY14E/15E). 100 In 2H14E, we expect to see 56.5% YoY earnings growth to HK$88.5mn. -
SUPPLY CHAIN and OPERATIONS MANAGEMENT SUMMER 2020 Online, MTWRF 9.00 Am-10.30 Am
SCM2160 A01 (3 CH) SUPPLY CHAIN AND OPERATIONS MANAGEMENT SUMMER 2020 Online, MTWRF 9.00 am-10.30 am CONTENTS CONTENTS ............................................................. 1 REFERENCING STYLE FOR WRITTEN WORK .......... 7 INSTRUCTOR ......................................................... 1 CLASS SCHEDULE ................................................... 7 COURSE DESCRIPTION........................................... 1 CASE DISCUSSION ............................................... 10 COURSE OBJECTIVES ............................................. 2 INTENDED LEARNING OUTCOMES ...................... 12 COURSE MATERIALS .............................................. 3 ACADEMIC INTEGRITY POLICY ............................ 13 COURSE METHODS ................................................ 3 GROUP PROJECTS AND GROUP WORK ............... 13 ASSESSMENT OF LEARNING .................................. 4 TYPICAL PENALTIES FOR ACADEMIC DISHONESTY OTHER INFORMATION AND REQUIREMENTS ....... 6 IN THE ASPER SCHOOL ........................................ 14 ATTENDANCE POLICY ............................................ 6 STUDENT SERVICES AND SUPPORTS ................... 15 OUT-OF-CLASS COMMUNICATION ....................... 7 ABOUT THE INSTRUCTOR .................................... 16 INSTRUCTOR Name: Changmin Jiang Office: 624 Drake Centre Phone: 204-474-9737 Email: [email protected] Office hours: online by appointment COURSE DESCRIPTION When thinking of operations, many people envisage factories (making things) and some picture -
Factors Influencing Viewing Behavior in Live Streaming
Multimodal Technologies and Interaction Article Factors Influencing Viewing Behavior in Live Streaming: An Interview-Based Survey of Music Fans Minjeong Ham and Sang Woo Lee * Graduate School of Information, Yonsei University, 50 Yonsei-ro, Seodaemun-gu, Seoul 03722, Korea; [email protected] * Correspondence: [email protected] Received: 2 July 2020; Accepted: 11 August 2020; Published: 13 August 2020 Abstract: V Live is a live-streaming service made by South Korean IT company in August 2015. The service provides diverse video contents specific to entertainment content. Most of V Live users are K-pop fans, and they actively express emotions on V Live content by writing comments, pressing “hearts”, and sharing video content. Based on Uses and Gratifications theory, this study investigated why people use live streaming service, and the factors influencing users’ viewing behavior in live streaming. We conducted an in-depth interview with V Live users. Based on the results of the interview, an online survey was conducted. As a result, six factors—“Interpersonal relationship motivation”, “Social presence motivation”, “Celebrity support motivation”, “Celebrity presence motivation”, “Social interaction motivation”, and “Differentiation motivation”—were derived as motivations to use V Live. While “Social presence motivation” and “Differentiation motivation” among V Live use motivations that have been shown to mediate the relationship between fans’ fanship and V Live viewing time, all motivations using V Live have been shown to mediate the relationship between fans’ fanship and V Live viewing participation. Keywords: fanship; V Live; live streaming service; participation 1. Introduction The K-pop boy band BTS held a concert at Wembley Stadium in London, the UK, in June 2019, which was broadcast live on Naver’s live streaming service (LS), V Live. -
The Community They Build and Live In: Emergence of Transnational Solidarity of Women Through K-Pop Fandom Focused on K-Pop Idol/Singer/Actor Kim Jaejoong Fandom
저작자표시-비영리-변경금지 2.0 대한민국 이용자는 아래의 조건을 따르는 경우에 한하여 자유롭게 l 이 저작물을 복제, 배포, 전송, 전시, 공연 및 방송할 수 있습니다. 다음과 같은 조건을 따라야 합니다: 저작자표시. 귀하는 원저작자를 표시하여야 합니다. 비영리. 귀하는 이 저작물을 영리 목적으로 이용할 수 없습니다. 변경금지. 귀하는 이 저작물을 개작, 변형 또는 가공할 수 없습니다. l 귀하는, 이 저작물의 재이용이나 배포의 경우, 이 저작물에 적용된 이용허락조건 을 명확하게 나타내어야 합니다. l 저작권자로부터 별도의 허가를 받으면 이러한 조건들은 적용되지 않습니다. 저작권법에 따른 이용자의 권리는 위의 내용에 의하여 영향을 받지 않습니다. 이것은 이용허락규약(Legal Code)을 이해하기 쉽게 요약한 것입니다. Disclaimer 국제학석사학위논문 The Community They Build and Live in: Emergence of Transnational Solidarity of Women through K-Pop Fandom Focused on K-Pop Idol/Singer/Actor Kim Jaejoong Fandom 그들이 만들어 살아가는 공동체: 케이팝 팬덤을 통한 초국적 여성연대의 출현 가수 겸 배우 김재중 팬덤을 중심으로 2017년 2월 서울대학교 국제대학원 국제학과 한국학전공 지 정 민 The Community They Build and Live in: Emergence of Transnational Solidarity of Women through K-Pop Fandom Focused on K-Pop Idol/Singer/Actor Kim Jaejoong Fandom A thesis presented by Chi, Jungmin to Graduate Program in International Studies In partial fulfillment of the requirements For the degree of Master In the subject of Korean Studies Graduate School of International Studies Seoul National University Seoul, Korea February 2017 ○c Copyrights by Jungmin Chi 2017 All rights Reseerved ABSTRACT The Community They Build and Live in: Emergence of Transnational Solidarity of Women through K-Pop Fandom Focused on K-Pop Idol/Singer/Actor Kim Jaejoong Fandom Jungmin Chi Graduate School of International Studies Korean Studies Seoul National University This research is an attempt to examine a global K-pop idol fandom pertaining to its function as a vehicle in the emergence of transnational solidarity and empowerment of women. -
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.