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The Impact of 'Korean Wave'on Young Indonesian Females and Indonesian Culture in Jabodetabek Area
THE IMPACT OF ‘KOREAN WAVE’ ON YOUNG INDONESIAN. Putri And Reese THE IMPACT OF ‘KOREAN WAVE’ ON YOUNG INDONESIAN FEMALES AND INDONESIAN CULTURE IN JABODETABEK AREA Vandani Kencana Putri Matthias Reese Swiss German University, Tangerang, Indonesia Swiss German University, Tangerang, Indonesia Email: [email protected] Email: [email protected] Popular culture ‘Korean Wave’ has been reaching out all over the world since the year 2000 with the phenomenon intriguing people’s interests towards Korean culture and products. In fact, some Abstract people already prefer Korean culture and products to those from their own country. It is inevitable in Indonesia, too, where most of its K-Wave-enthusiasts are teenage to adult females. With this in mind, there is a possibility that Indonesian culture might eventually vanish in those individuals. Thus, this quantitative research focuses on Indonesian female K-Wavers between 15 and 30 years old who are living in the Jabodetabek area, and investigates their main medium of Korean Wave consumption and whether Korean Wave has an impact on individuals and on Indonesian culture itself. The results based on the data of 251 respondents show that internet is the main medium of Korean Wave consumption in the Jabodetabek area. Furthermore, the results injdicate that the Korean Wave does significantly impact Indonesian female K-Wavers in several aspects, but an impact of the Korean Wave on Indonesian culture could not be found. 35 BUSINESS AND MANAGEMENT STUDIES JOURNAL c MARC 2016 . VOL. 3 . NO.2 I. Background pop music (or K-Pop) also made a major contribution for the geographical orean popular culture, called extension of the Korean Wave across ‘Korean Wave’ or simply the globe. -
Uila Supported Apps
Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage. -
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 -
D2492609215cd311123628ab69
Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
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. -
1 WHAT's in a SUBTITLE ANYWAY? by Katherine Ellis a Thesis
WHAT’S IN A SUBTITLE ANYWAY? By Katherine Ellis A thesis Presented to the Independent Studies Program of the University of Waterloo in fulfillment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2016 1 剣は凶器。剣術は殺人術。それが真実。薫どのの言ってる事は．．．一度も自分 の手血はがした事もないこと言う甘えだれ事でござる。けれでも、拙者は真実よ りも薫どのの言うざれごとのほうが好きでござるよ。願あくはこれからのよはそ の戯れ言の真実もらいたいでござるな。 Ken wa kyouki. Kenjutsu wa satsujinjutsu. Sore wa jijitsu. Kaoru-dono no itte koto wa… ichidomo jishin no te chi wa gashita gotomonaikoto iu amae darekoto de gozaru. Keredomo, sessha wa jujitsu yorimo Kaoru-dono no iu zaregoto no houga suki de gozaru yo. Nega aku wa korekara no yo wa sono zaregoto no jujitsu moraitai de gozaru na. Swords are weapons. Swordsmanship is the art of killing. That is the truth. Kaoru-dono ‘s words… are what only those innocents who have never stained their hands with blood can say. However, I prefer Kaoru- dono’s words more than the truth, I do. I wish… that in the world to come, her foolish words shall become the truth. - Rurouni Kenshin, Rurouni Kenshin episode 1 3 Table of Contents Abstract……………………………………………………………………………………………………………….5 Body Introduction………………………………………………………………….……………………………………..6 Adaptation of Media……………………………………………….…………………………………………..12 Kenshin Characters and Japanese Archetypes……………………………………………………...22 Scripts Japanese………………………………………………………………………………………………….29 English……………………………………………………………………………………………………35 Scene Analysis……………………………………………………………………………………………………40 Linguistic Factors and Translation………………………………………………………………………53 -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2 -
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. -
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 ................................................................................................................................. -
Telecommunications Policy: an Evaluation of 40 Years' Research History
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kwon, Youngsun; Kwon, Joungwon Conference Paper Telecommunications Policy: An evaluation of 40 years' research history 28th European Regional Conference of the International Telecommunications Society (ITS): "Competition and Regulation in the Information Age", Passau, Germany, 30th July - 2nd August, 2017 Provided in Cooperation with: International Telecommunications Society (ITS) Suggested Citation: Kwon, Youngsun; Kwon, Joungwon (2017) : Telecommunications Policy: An evaluation of 40 years' research history, 28th European Regional Conference of the International Telecommunications Society (ITS): "Competition and Regulation in the Information Age", Passau, Germany, 30th July - 2nd August, 2017, International Telecommunications Society (ITS), Calgary This Version is available at: http://hdl.handle.net/10419/169475 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. -
Scriptedpifc-01 Banijay Aprmay20.Indd 2 10/03/2020 16:54 Banijay Rights Presents… Bäckström the Hunt for a Killer We Got This Thin Ice
Insight on screen TBIvision.com | April/May 2020 Television e Interview Virtual thinking The Crown's Andy Online rights Business Harries on what's companies eye next for drama digital disruption TBI International Page 10 Page 12 pOFC TBI AprMay20.indd 1 20/03/2020 20:25 Banijay Rights presents… Bäckström The Hunt For A Killer We Got This Thin Ice Crime drama series based on the books by Leif GW Persson Based on a true story, a team of police officers set out to solve a How hard can it be to solve the world’s Suspense thriller dramatising the burning issues of following the rebellious murder detective Evert Bäckström. sadistic murder case that had remained unsolved for 16 years. most infamous unsolved murder case? climate change, geo-politics and Arctic exploitation. Bang The Gulf GR5: Into The Wilderness Rebecka Martinsson When a young woman vanishes without a trace In a brand new second season, a serial killer targets Set on New Zealand’s Waiheke Island, Detective Jess Savage hiking the famous GR5 trail, her friends set out to Return of the riveting crime thriller based on a group of men connected to a historic sexual assault. investigates cases while battling her own inner demons. solve the mystery of her disappearance. the best-selling novels by Asa Larsson. banijayrights.com ScriptedpIFC-01 Banijay AprMay20.indd 2 10/03/2020 16:54 Banijay Rights presents… Bäckström The Hunt For A Killer We Got This Thin Ice Crime drama series based on the books by Leif GW Persson Based on a true story, a team of police officers set out to solve a How hard can it be to solve the world’s Suspense thriller dramatising the burning issues of following the rebellious murder detective Evert Bäckström. -
Bab I Pendahuluan
BAB I PENDAHULUAN 1.1 Gambaran Umum Subjek Penelitian 1.1.1 Series Produce 101 Produce 101 adalah acara survival dari Korea Selatan yang ditayangkan pada stasiun TV Mnet merupakan proyek berskala besar di mana masyarakat "menghasilkan" sebuah grup dengan cara memilih anggotanya dari 101 peserta yang merupakan trainee dari puluhan perusahaan hiburan Korea Selatan dan para trainee tersebut tidak hanya berasal dari Korea Selatan tetapi juga dari Jepang, China, Taiwan, hingga Thailand. Gambar 1.1 Poster Series Produce 101 Sumber: Allkpop.com diakses pada 04/09/2019 pukul 20.20 WIB Trainee yang berkompetisi untuk debut dalam satu grup ini akan melewati beberapa tahapan seleksi dan disetiap tahapan seleksi tersebut akan ada beberapa peserta yang tereleminasi. Nantinya penampilan para peserta disetiap tahapan seleksi akan disaksikan oleh produser nasional (penonton) yang akan menentukan trainee terbaik pilihan mereka dengan memberikan vote, baik secara langsung saat 1 penampilan evaluasi ataupun melalui sms atau online setelah episode ditayangkan di TV, hal ini juga membantu terbentuknya basis penggemar yang kuat sebelum mereka resmi debut. Grup jebolan Produce 101 dijuluki “National Group” karena hanya warga Korea Selatan saja yang bisa mengikuti voting untuk para peserta di acara ini, dan warga Korea Selatan yang memberikan voting disebut “National Producer”. Berikut adalah tahapan seleksi yang akan dijalani oleh para trainee Series Produce 101: 1. Individual Test Level Pada test ini, para trainee akan tampil per-agensi, kemudian para pelatih dan MC akan berdiskusi dan membagi para trainee menjadi beberapa kelas sesuai kemampuan mereka saat tampil. 2. Group Battle Para trainee akan dibagi menjadi beberapa grup dengan anggota 5-7 orang, kemudian mereka akan menampilkan lagu dari grup-grup K-Pop terkenal, nantinya tiap 2 grup akan menampilkan lagu yang sama (battle) dan ada voting on-scene oleh penonton yang hadir untuk menentukan grup mana yang lebih baik saat menampilkan lagu tersebut.