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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. -
Netease Cloud Music and Big Hit Entertainment Team up to Launch BTS' Song Catalog
NetEase Cloud Music and Big Hit Entertainment team up to launch BTS' song catalog HANGZHOU, China, May 4, 2018 /PRNewswire/ -- NetEase Cloud Music, China's leading music platform, entered into a partnership agreement with South Korea-based Big Hit Entertainment, whereby the Chinese platform will launch BTS' repertoire of songs on the platform. Big Hit Entertainment, a South Korea-based entertainment company focused on music, represents and manages BTS, the company's leading all-male group, which debuted in 2013. BTS is comprised of seven male vocalists: RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook. BTS, the abbreviation for Bangtan Sonyeondan, also stands for Bulletproof Boys and Beyond The Scene. Since the group's first appearance, they have received several major awards at music festivals held in South Korea as well as some international events. In 2017, they were named Top Social Artist by Billboard Music Awards, garnering the group worldwide attention. This February, they were again listed as an award candidate, competing with international superstars. Recently, NetEase Cloud Music launched BTS' widely popular catalog of songs on its platform, including MIC Drop (Steve Aoki Remix) (Feat. Desiigner), DNA, Spring Day, Not Today, Blood Sweat & Tears, Fire, Dope and I need U. In addition to music copyright, NetEase Cloud Music will cooperate with Big Hit Entertainment on artist and music promotion, marking the start of a close collaboration that will cover all aspects of the music business. The two parties look forward to jointly driving the popularity of music artists and their works via multiple channels, while offering higher quality music services to wider audiences. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
Construction of Hong-Dae Cultural District : Cultural Place, Cultural Policy and Cultural Politics
Universität Bielefeld Fakultät für Soziologie Construction of Hong-dae Cultural District : Cultural Place, Cultural Policy and Cultural Politics Dissertation Zur Erlangung eines Doktorgrades der Philosophie an der Fakultät für Soziologie der Universität Bielefeld Mihye Cho 1. Gutachterin: Prof. Dr. Joanna Pfaff-Czarnecka 2. Gutachter: Prof. Dr. Jörg Bergmann Bielefeld Juli 2007 ii Contents Chapter 1 Introduction 1 1.1 Research Questions 4 1.2 Theoretical and Analytical Concepts of Research 9 1.3 Research Strategies 13 1.3.1 Research Phase 13 1.3.2 Data Collection Methods 14 1.3.3 Data Analysis 19 1.4 Structure of Research 22 Chapter 2 ‘Hong-dae Culture’ and Ambiguous Meanings of ‘the Cultural’ 23 2.1 Hong-dae Scene as Hong-dae Culture 25 2.2 Top 5 Sites as Representation of Hong-dae Culture 36 2.2.1 Site 1: Dance Clubs 37 2.2.2 Site 2: Live Clubs 47 2.2.3 Site 3: Street Hawkers 52 2.2.4 Site 4: Streets of Style 57 2.2.5 Site 5: Cafés and Restaurants 61 2.2.6 Creation of Hong-dae Culture through Discourse and Performance 65 2.3 Dualistic Approach of Authorities towards Hong-dae Culture 67 2.4 Concluding Remarks 75 Chapter 3 ‘Cultural District’ as a Transitional Cultural Policy in Paradigm Shift 76 3.1 Dispute over Cultural District in Hong-dae area 77 3.2 A Paradigm Shift in Korean Cultural Policy: from Preserving Culture to 79 Creating ‘the Cultural’ 3.3 Cultural District as a Transitional Cultural Policy 88 3.3.1 Terms and Objectives of Cultural District 88 3.3.2 Problematic Issues of Cultural District 93 3.4 Concluding Remarks 96 Chapter -
Reception Hosted by the Okinawa G8 Summit Support Council [PDF]
Reference Materials Social Event: Welcome Reception OUTLINE ■Name of Event: Social Event of the Kyushu-Okinawa Summit 2000 "Welcome Reception for Summit Leaders" ■Hosting Organization: Okinawa G8 Summit Host Preparation Council ■Date: July 22, 2000 (Saturday) ■Time: 18:45 - 20:15 ■Venue: Hotel Nikko Naha Grand Castle, "Shuri Hall" Address: 1-132-1 Shuri Yamagawa-cho, Naha, Okinawa ■Participants: Summit leaderss Invited guests from the public (300 people) ■Welcome Reception Turning the Eyes of the World on Okinawa, Sending the Spirit of Okinawa to the World The Okinawa G8 Summit Host Preparation Council will host a welcome reception for the Summit leaders visiting Okinawa for the Kyushu-Okinawa Summit Meeting. From the days of old, Okinawa has been known to the world as the "land of courtesy and cordiality." The people of Okinawa will warmly welcome the Summit leaders in this reception, which features Okinawa's unique culture and regal traditional performing arts that were developed in the age of the Ryukyu Kingdom through trade and interaction with various Asian cultures. The Summit theme song, "NEVER END," which reflects contemporary Okinawa will also be performed. RECEPTION PROGRAM 1.Welcome ●Traditional Okinawan dress The Summit leaders will be welcomed by two high school students dressed in the traditional attire of the Ryukyu Kingdom of old. The clothing is made of bingata fabric whose bright color reminds of Okinawa. ■Welcomers: Yukino Matsuda and Takashi Toma, students of the Okinawa Prefectural Urasoe High School ●Traditional Okinawan music The reception features traditional Okinawan music performed with typical Okinawan instruments: the sa n s h i n (three-stringed plucked lute), ko t o (13-string zither), fu e (Japanese-style flute), ta i k o (J a p a n e s e - style drums), and k o k y u (three-stringed bowed lute). -
Rectv Powered by レコチョク 配信曲 覧(アーティスト名ヨミ「は」 )
RecTV powered by レコチョク 配信曲⼀覧(アーティスト名ヨミ「は」⾏) ※2021/7/19時点の配信曲です。時期によっては配信が終了している場合があります。 曲名 歌手名 アワイロサクラチル バイオレント イズ サバンナ It's Power of LOVE バイオレント イズ サバンナ OH LOVE YOU バイオレント イズ サバンナ つなぐ バイオレント イズ サバンナ I'M DIFFERENT HI SUHYUN AFTER LIGHT [Music Video] HYDE INTERPLAY HYDE ZIPANG (Japanese Version) HYDE feat. YOSHIKI BELIEVING IN MYSELF HYDE FAKE DIVINE HYDE WHO'S GONNA SAVE US HYDE MAD QUALIA [Japanese Version] HYDE LET IT OUT HYDE 数え切れないKiss Hi-Fi CAMP 雲の上 feat. Keyco & Meika, Izpon, Take from KOKYO [ACOUSTIC HIFANA VERSION] CONNECT HIFANA WAMONO HIFANA A Little More For A Little You ザ・ハイヴス Walk Idiot Walk ザ・ハイヴス ティック・ティック・ブーン ザ・ハイヴス ティック・ティック・ブーン(ライヴ) ザ・ハイヴス If I Could Change Your Mind ハイム Summer Girl ハイム Now I'm In It ハイム Hallelujah ハイム Forever ハイム Falling ハイム Right Now ハイム Little Of Your Love ハイム Want You Back ハイム BJ Pile Lost Paradise Pile I Was Wrong バイレン 100 ハウィーD Shine On ハウス・オブ・ラヴ Battle [Lyric Video] House Gospel Choir Waiting For The Sun Powderfinger Already Gone Powderfinger (Baby I've Got You) On My Mind Powderfinger Sunsets Powderfinger These Days [Live In Concert] Powderfinger Stumblin' [Live In Concert] Powderfinger Take Me In Powderfinger Tail Powderfinger Passenger Powderfinger Passenger [Live At The 1999 ARIA Awards] Powderfinger Pick You Up Powderfinger My Kind Of Scene Powderfinger My Happiness Powderfinger Love Your Way Powderfinger Reap What You Sow Powderfinger Wake We Up HOWL BE QUIET fantasia HOWL BE QUIET MONSTER WORLD HOWL BE QUIET 「いくらだと思う?」って聞かれると緊張する(ハタリズム) バカリズムと アステリズム HaKU 1秒間で君を連れ去りたい HaKU everything but the love HaKU the day HaKU think about you HaKU dye it white HaKU masquerade HaKU red or blue HaKU What's with him HaKU Ice cream BACK-ON a day dreaming.. -
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. -
Arranged Mafia Marriage Chapter 1 BPOV I Feel Like I Am Always Running from Someone
Arranged Mafia Marriage Chapter 1 BPOV I feel like I am always running from someone. I can feel their eyes watching me. My name is Bella Swan; I am 16 years old and a sophomore in high school. My father is Charlie Swan is Mafia lord and his best friend Carlisle Cullen is his partner in crime who I have heard a lot about over the years. My mother is Renee Swan she is definitely one the sweetest mother's in the world but she can be your worst nightmare if you get on her bad side. I have four older siblings Sam, Jacob, Rose, and Alice. I am the baby of the family which also means I get the most unwanted attention and my siblings have a hard time accepting that I'm not a little girl anymore, I am almost an adult. My ex-boyfriend Chris was murdered when I was 15 years old. He was definitely the sweetest boyfriend you could have, I loved him and wanted to marry him in the future, but that will never happen with him. Many people want me for my families' money, but he wanted me for who I was. The mafia life is what I grew up with living in New York; I learned you can't trust anyone outside of the family except for the Cullen's. I also didn't trust people because of what I had dealt with the past sixteen years. Which brings me here in Chicago at Mr. Cullen's house, my father announced to me last week that I was arranged to be married to Mr. -
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). -
Vicarious Reward Response Is Positively Correlated with Functional Connectivity in the Resting State Default Mode Network
Psychology, 2020, 11, 1574-1591 https://www.scirp.org/journal/psych ISSN Online: 2152-7199 ISSN Print: 2152-7180 Vicarious Reward Response Is Positively Correlated with Functional Connectivity in the Resting State Default Mode Network Tsukasa Inomata1, Sotaro Shimada2 1Electrical Engineering Program, Graduate School of Science and Technology, Meiji University, Kawasaki, Japan 2Department of Electronics and Bioinformatics, School of Science and Technology, Meiji University, Kawasaki, Japan How to cite this paper: Inomata, T., & Shi- Abstract mada, S. (2020). Vicarious Reward Response Is Positively Correlated with Functional Con- Some people can easily empathize with others, while others cannot. The neural nectivity in the Resting State Default Mode mechanism underlying individual difference of how much people can em- Network. Psychology, 11, 1574-1591. pathize with others is still not clear. Vicarious reward is the phenomenon by https://doi.org/10.4236/psych.2020.1110100 which we vicariously experience the positive sensations or emotions of others. Received: September 20, 2020 Beta oscillatory activity (BOA) is observed when participants experience vica- Accepted: October 26, 2020 rious reward. Recent studies have reported that the default mode network Published: October 29, 2020 (DMN) is also involved in reward processing and have suggested that indi- Copyright © 2020 by author(s) and vidual differences in the way participants respond to reward stimuli are cor- Scientific Research Publishing Inc. related with DMN functional connectivity during the resting state. In the This work is licensed under the Creative current study, we investigated whether DMN functional connectivity during Commons Attribution International License (CC BY 4.0). the resting state is also correlated with BOA for vicarious reward. -
"Thought Reform" in China| Political Education for Political Change
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1979 "Thought reform" in China| Political education for political change Mary Herak The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Herak, Mary, ""Thought reform" in China| Political education for political change" (1979). Graduate Student Theses, Dissertations, & Professional Papers. 1449. https://scholarworks.umt.edu/etd/1449 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 THIS IS AN UNPUBLISHED MANUSCRIPT IN WHICH COPYRIGHT SUB SISTS, ANY FURTHER REPRINTING OF ITS CONTENTS MUST BE APPROVED BY THE AUTHOR. MANSFIELD LIBRARY UNIVERSITY OF MONTANA DATE: 19 7 9 "THOUGHT REFORM" IN CHINA: POLITICAL EDUCATION FOR POLITICAL CHANGE By Mary HeraJc B.A. University of Montana, 1972 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OP MONTANA 1979 Approved by: Graduat e **#cho o1 /- 7^ Date UMI Number: EP34293 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. -
Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1.Background of Study Japan has so many traditions of folklore that had inherited for generation whether in story form or in tradition form. With some creativity and existing technology that they had, some Japanese filmmaker has succeeded by making some Japanese folklore into more interesting form and well known by people whether inside Japan or outside Japan. According to Kitayama “Folklore is a stories shared by folk people from the past and these stories are similar to myths, except that they are related more to human matters than to supernatural beings” (Kitayama 2005: 85) By this quotation the writer argue that folklore is cultural product which is produced by people in the past and it is contained of myth and usually, the society will connect the folklore to supernatural even more to human matters. As emphasized by Lindahl, Although many people regard a “folktale” as a fictional form, I use the term here to apply to any traditional tale, whether its tellers consider it true, or false, or both. Thus, the scope of the tale extends far beyond fiction to encompass belief tales, personal experience stories, and accounts of major historical events (Lindahl, 2004: 200). Based on the quotation above, the writer argues that folklore acknowledges the practice of labeling narratives based on the element of belief, he also realizes the inherent story within each and the tendency of storytellers to use a little fiction and a little nonfiction in crafting their stories. Lindahl uses this terminology to put the focus on the storytellers themselves and help the reader to recognize the relationship between tale and teller.