DOCSLIB.ORG

韓國流行音樂—「Twice」與「Blackpink」之研究作者

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

投稿類別：商業類 篇名： 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 作者： 劉育菱。基隆商工。會計事務科三年甲班 陳㛄廷。基隆商工。會計事務科三年甲班 陳聖潔。基隆商工。會計事務科三年甲班 指導老師： 吳素雲老師 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 壹、前言 一、研究動機 隨著韓國音樂的崛起，2000 年韓流開始風靡了亞洲與世界，並與日本流行音樂列為具 有指標性的流行音樂類別，也使韓國演藝圈影響多國的經濟發展，孫南源（2015）指出 「K-POP（韓國流行音樂）帶著感性，發揮獨有個性，讓全世界看到」，韓國的四大經紀公 司是 SM、YG、JYP 與 Big Hit 娛樂，本研究因為韓國娛樂圈發展幅度較大，所以分別以 JYP 娛樂的「TWICE」和 YG 娛樂的「BLACKPINK」進行比較。 二、 研究目的 （一）介紹韓國女子團體「TWICE」與「BLACKPINK」。 （二）瞭解「TWICE」與「BLACKPINK」的銷售手法。 （三）分析「TWICE」與「BLACKPINK」的行銷策略 4P 和經營策略 SWOT。 （四）訪談粉絲對「TWICE」與「BLACKPINK」之韓國流行音樂看法。 （五）探討粉絲對「TWICE」與「BLACKPINK」的偏好與滿意度。 三、 研究方法 本研究蒐集再統整與分析「TWICE」與「BLACKPINK」的文獻資料，最後利用問卷 調查探討粉絲對「TWICE」與「BLACKPINK」的滿意度。 四、 研究範圍與限制 本研究因人力、經費與地區之限，以北北基的國高中生為網路問卷調查對象，預計取 出前 100 份做統計與分析。 五、 研究流程 本研究流程如圖一。 研究 擬定 研究 實際 網路 結論 目的 文獻 結果 研究 訪談 問卷 與 與 探討 與 主題 方法 粉絲 調查 建議 分析 圖一 研究流程 （圖一資料來源：本研究繪製） 1 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 貳、正文 一、 團體介紹 （一）TWICE TWICE（圖二、圖三）為韓國 JYP 娛樂旗下的九人女子團體，成 員通過生存實境節目《SIXTEEN》篩選而出。2015 年 10 月 20 日以首 張迷你專輯《THE STORY BEGINS》正式出道。 圖二 TWICE 團名「TWICE」由 JYP 娛樂公司創辦者朴珍永取名，寓意為「透過舞台令耳朵得到 感動之後，再為眼睛多帶來一次感動。」問候語為「One in a million」，意味著要成為百 萬偶像團體中的唯一。茲將其成員介紹如表一（資料來源：JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/）。 表一 TWICE 成員資料 英文藝名 本名 國籍 隊內職務 Nayeon 林娜琏 韓國 第二主唱、形象擔當 Jeongyeon 俞定延 韓國 第三主唱 主領舞、副唱、 Momo 平井桃 日本 副 Rapper Sana 湊崎紗夏 日本 副唱、形象擔當 Jihyo 朴志效 韓國 隊長、第一主唱 Mina 名井南 日本 副唱、副領舞 Dahyun 金多賢 韓國 副 Rapper Chaeyoung 孫彩瑛 韓國 主 Rapper 圖三 TWICE 成員 Tzuyu 周子瑜 台灣 副唱、副領舞、門面 （表一資料來源：JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/） （二）BLACKPINK BLACKPINK（圖四、圖五）為韓國 YG 娛樂 旗下的四人女子團體，由 2016 年 8 月 8 號以單曲 專輯《Square One》雙主打曲《口哨》、《Boombayah》 出道。 圖四 BLACKPINK 團名「BLACKPINK」是帶有稍微否定粉紅色是最美的顏色的涵義，具有「漂亮並不代 表全部」的反轉意義，也表示成員們不僅具備外貌、同時也兼具實力，加上每人在不同的領 域均具有領導能力，因此團隊也決定不設立隊長一職，茲將其成員介紹如表二（資料來源： YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/）。 2 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 表二 BLACKPINK 成員資料 藝名（英文） 中文名 國籍 隊內職務 Jisoo 金智秀 韓國 主唱、門面 Jennie 金珍妮 韓國 主 Rapper、副唱 Rose 朴彩英 紐西蘭 主唱 Lisa 拉莉莎 · 瑪諾班 泰國 主舞、副 Rapper 圖五 BLACKPINK 成員 （表二資料來源：YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/） 二、「TWICE」與「BLACKPINK」的銷售手法 （一）銷售客群 由成員國籍可知公司想讓他們發展的方向，TWICE 有日本籍和臺灣籍成員，是為了 讓 TWICE 的主要銷售往東亞發展，而 BLACKPINK 有泰國和紐西蘭以及留學紐西蘭的 成員，加上本身英文能力優秀，所以比較受歐美地區歡迎，如表三。 表三 銷售客群與風格 團名 TWICE BLACKPINK 外國成員國籍 日本、台灣 泰國、紐西蘭 發展方向 較受東亞國家喜愛 較受歐美國家喜愛 元氣少女風 成熟、Hiphop 風 風格取向 圖六 圖七 男粉絲比例較多 女粉絲比較多 粉絲分佈 以 20 代註為主，30 代及 40 代的數 以 10 代、20 代為主 量也不少 （表三資料來源：JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/、YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/） 註：在韓國演藝圈 20 代是指 20~29 歲，原是粉絲之間的代稱，後被用為新聞媒體的專業用語。 （二）專輯 藉由兩團的專輯銷售量可知 TWICE 極力往日本發展，而 BLACKPINK 偏重往歐美 方向發展，如表四（圖八至圖十三）。 3 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 表四 專輯銷售量 團體 TWICE BLACKPINK 語言 韓語專輯 日語專輯 韓語專輯 日語專輯 2017 《Twicetagram》 2018 《BDZ》 2020 2018 《THE ALBUM》 《Blackpine in Your Area》 正規 圖八 圖九 專輯 2020《Eyes wide open》 2019《&TWICE1》 圖十二 圖十三 圖十 圖十一 總銷量 5,713,666 3,624,142 1,004,197 175,814 （表四資料來源：JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/、YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/） （三）周邊商品：公司推出偶像的相關商品讓粉絲購買，如表五（圖十四至圖二十一）。 表五 周邊商品 團體 手燈 服飾 公仔 徽章 TWICE 圖十四 圖十五 圖十六 圖十七 BLACKPINK 圖十八 圖十九 圖二十 圖二十一 （表五資料來源：JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/、YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/） 三、「TWICE」與「BLACKPINK」之行銷策略 4P 和經營策略 SWOT 分析 （一）行銷策略 4P 分析 「行銷策略主要包括產品、價格、通路及推廣，這四種策略，企業通常會同時運用 上述策略，來達到最佳的行銷效果」（ 吳文立、李亮生，2019）。茲將「TWICE」與 「BLACKPINK」之行銷 4P 分析如表六。 4 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 表六 「TWICE」與「BLACKPINK」之行銷 4P 分析 產品 價格 通路 推廣 專輯 $400~$500 網路、實體店面 舉辦簽名會、演唱會 因廠商不對外公 Youtube、V LIVE、 TWICE 團體綜藝 粉絲專頁 開演出價格，無 音樂電視頻道 代言 法得知準確資料 社群網站、電視廣告 商場演唱 專輯 $500~$600 網路、實體店面 舉辦簽名會、演唱會 因廠商不對外公 Youtube、V LIVE、 BLACKPINK 團體綜藝 粉絲專頁 開演出價格，無 音樂電視頻道 代言 法得知準確資料 社群網站、電視廣告 商場演唱 （表六資料來源：JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/、YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/） （二）經營策略 SWOT 分析 「SWOT 分析法，他是將對企業內、外度各方面條件進行綜合評估，進而分析企業 的優劣勢及面臨的機會和威脅。」（ 吳文立、李亮生，2019）。茲將「TWICE」與「BLACKPINK」 之 SWOT 分析如表七。 表七 「TWICE」與「BLACKPINK」之 SWOT 分析 優勢 劣勢 機會 威脅 名稱 （Strength） （Weakness） （Opportunity） （Threat） 1.人數眾多，舞台畫面 1.會講英文的成員 轉 變 風 格 成 男粉絲易被新 TWICE 感較足 很少 功，吸引到不同 女團吸引而減 2.歌曲洗腦，傳唱度高 2.無個人社群網站 客群 少 1.現場演唱穩定 1.公司較少做宣傳 Girl Cruch 受到 因公司的原因 BLACKPINK 2.英文實力出眾 2.綜藝出演較少 廣 大 年 齡 層 喜 所以韓國內的 3.曲風強烈，記憶點深 愛 舞台頗少 （表七資料來源：本研究編製） 四、訪談「TWICE」與「BLACKPINK」之粉絲 本研究人員因無法實際到韓國經紀公司，以及語言溝通問題，而無法以電子郵件方式 進行訪問，所以針對消費者做 K-POP 相關訪問，彙整其問題如表八，消費者回應如下。 表八 消費者訪問問題 消費者訪問問題 1.對什麼感興趣？ 4.花多久時間？有沒有很沉迷？ 2.有沒有因此認識哪些韓國明星? 5.有沒有消費過相關商品？ 3.有沒有引發你對韓國的興趣？ 6.吸引你購買的原因？ 5 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 消費者回應如下： 陳同學 17 歲 基隆商工 平時對 KPOP 非常感興趣，也因此認識更多韓國明星，像是 TWICE 和 GOT7，在網路上看到 TWICE 的相關報導，之後就慢慢的開始關 注，後來因為歌曲與個性更喜歡他們。 本人很好奇明星生活的國家，去過兩次首爾，也覺得他們周邊很好 看，所以買了很多他們的相關商品。 劉同學 18 歲 永春高中 一直都有在關注 KPOP，偶然在網路上看到 TWICE 的影片，在剛出道 的時候很喜歡他們，但是後來發現比較喜歡 MAMAMOO 的玟星，平 常也會追韓劇一追就是幾個小時，內心想要買周邊但經濟不允許。 吳同學 17 歲 東山高中 從國中開始喜歡 BTS，因為他們認識了 BLACKPINK，之後就越來越喜 歡他們，有去韓國看到他們的周邊商品，覺得好看所以買了很多，學測 前也一直有在追韓劇，通常都是花一整天的時間在追劇。 之前還因為某個男團解散哭得非常傷心，算是很入迷的情況。 李同學 18 歲 東山高中 是在網路上得知 BLACKPINK，喜歡他們的歌曲風格，沒有去過韓國 但是在網路上買了他們的周邊，還會隨時帶在身上，喜歡追網路劇， 因為影片時間較短，所以我都一天看完。 花不少錢去看演唱會，看到本人非常興奮，疫情結束還想再去一次。 五、問卷調查結果分析 本研究依據問卷調查所得資料，針對目的進行調查樣本分析與結果探討，分述如後。 本研究之問卷調查係以 TWICE 與 BLACKPINK 之粉絲為調查對象。於民國 110 年 1 月 14 日至 1 月 27 日經由線上網路問卷調查共 103 份，回收 100 份，無效問卷 3 份，回收 率 98.03%。 （一）基本資料分析 本研究統整調查樣本之基本資料如表九。基本資料共分為五項，分布情形如下。 6 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 表九 受訪者基本資料分析 消費者 消費者 項目 百分比 項目 百分比 受訪者大 基本資料 基本資料 多 以女性 男 25 台北市 19 性別 為主，以 女 75 新北市 33 居住地 16~19 歲為 13 歲以上未滿 16 歲 19 基隆市 28 大宗，且以 16 歲以上未滿 19 歲 65 其他 20 年齡 高中職為 19 歲以上未滿 22 歲 13 $1,000 以下 25 主要的 消 22 歲以上 3 $1,001~$2,000 22 費族群，居 國中 8 每個月 $2,001~$3,000 14 住地以新 教育 高中職 78 零用錢 $3,001~$4,000 12 北市為，零 程度 大專/大學 13 $4,001~$5,000 7 用錢多在 碩/博士 1 $5,000 以上 20 1000 以下。 （二）消費者行為分析 1.較支持以下哪個團體 MV 2.喜歡此團體的原因 個性 歌曲 9.00% 8.00% BLACKPINK 舞蹈 13.00% TWICE 44% 11.00% 56% 顏質 其他 19.00% 40.00% 圖二十二 圖二十三 如圖二十二，受訪者較支持 BLACKPINK。 如圖二十三，多數人因歌曲而喜歡該團體，可 見公司對於曝光度做了很多努力。 3.從何得知此團體 4.00% 4.是否有買過此團體之周邊商品 社群網站 11.00% 相關產品代言 8.00% 否 新聞媒體 是 46.00% 綜藝節目 7.00% 親友推薦 2.00% 54.00% 其他 68.00% 圖二十四 圖二十五 如圖二十四，受訪者主要從社群網站知道此 如圖二十五，受訪者當中只有 46%有買過相 團體，可見資訊流對團體的影響力。 關商品，可見多數消費者消費能力不足。 5.在哪裡購買 6.願意花多少錢購買周邊商品 38.46% 1000以下 1001~2000 2.74% 5.48% 實體店面 2001~3000 2.74% 網路商店 3001~4000 39.73% 61.54% 4001~5000 10.96% 5001以上 38.36% 圖二十六 圖二十七 如圖二十六，較多消費者在網路上購買商品。 如圖二十七，受訪者購買周邊商品的預算不高。 7 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 7.最常購買此團體的何項周邊商品 其他 14 由圖二十八可知，受訪 雜誌 3 者以購買專輯居多，其 應援棒 1 次為小卡、手燈及其他 寫真集 2 瑣碎商品，可見消費者 演唱會DVD 2 多數是以專輯為主要 專輯 31 消費商品。 0 10 20 30 40 專輯 演唱會DVD 寫真集 應援棒 雜誌 其他 圖二十八 （三）消費者滿意度分析 為了更瞭解消費者對「TWICE」與「BLACKPINK」的滿意度，本研究設計了一份 問卷，以網路填寫表單的方式，對北北基的青少年進行問卷調查。以非常滿意（5 分）、 滿意（4 分）、普通（3 分）、不滿意（2 分）、非常不滿意（1 分），五個項目分別乘以人 數，加權平均後，以平均數代表該題項消費者滿意度。若平均數介於 2.50~3.49 偏向「普 通」；介於 3.50~4.49 偏向「滿意」，表十為問卷統計調查結果。 表十 消費者滿意度分析 團體 TWICE BLACKPINK 題項 構面 平均（排名） 平均（排名） 1.專輯 4.27（3） 4.29（4） 產品 2.團體綜藝 4.41（2） 4.16（2） 4.40（3） 4.26（2） 3.代言商品 3.80（10） 4.09（9） 價格 4.商品價格 3.68（12） 3.68（5） 3.80（12） 3.80（5） 5.實體店面家數 3.93（8） 4.04（10） 通路 6.網路購物 4.23（5） 4.14（3） 4.21（6） 4.23（3） 7.社群網站 4.27（3） 4.45（1） 8.廣告吸引力 3.93（8） 4.23（5） 9.演唱會、簽名會 4.20（6） 4.16（7） 推廣 3.98（4） 4.12（4） 10.官方網站資訊 4.02（7） 4.14（8） 11.預購商品（會員禮） 3.77（11） 3.93（11） 其他 12.對團體整體的滿意度 4.45（1） 4.45（1） 4.41（2） 4.41（1） 整體 整體平均數 4.08 4.16 8 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 1、就「整體」滿意度：「TWICE」與「BLACKPINK」的平均數分別為 4.08 與 4.16， 皆偏向「滿意」。從整體平均數可發現，消費者對「BLACKPINK」之滿意度高於 「TWICE」。 2、就「產品」滿意度：「TWICE」與「BLACKPINK」的平均數分別為 4.16 與 4.26， 皆偏向「滿意」。而「TWICE」與「BLACKPINK」最高皆為「團體綜藝」；最低皆 為「代言商品」。 3、就「價格」滿意度：「TWICE」與「BLACKPINK」的平均數分別為 3.68 與 3.80， 皆偏向「滿意」。消費者對「BLACKPINK」之滿意度高於「TWICE」。 4、就「通路」滿意度：「TWICE」與「BLACKPINK」的平均數分別為 4.14 與 4.23， 皆偏向「滿意」。而「TWICE」與「BLACKPINK」最高皆為「社群網站」；最低皆 為「實體店面家數」。 5、就「推廣」滿意度：「TWICE」與「BLACKPINK」的平均數分別為 3.98 與 4.12， 皆偏向「滿意」。就各題而言，「廣告吸引力」、「官方網站資訊」及「預購商品（會 員禮）」，「BLACKPINK」之滿意度高於「TWICE」，而「演唱會、簽名會」則由「TWICE」 較高。 6、就「其他」滿意度：「TWICE」與「BLACKPINK」的平均數分別為 4.45 與 4.41， 皆偏向「滿意」。而「TWICE」之滿意度高於「BLACKPINK」。 參、結論 一、結論 （一）基本資料：「新北市」、「女性」、「16 歲以上未滿 19 歲」、「高中職生」，每月零用 錢在「$1,000 以下」者居多。 （二）消費者行為：多數消費者較喜歡「BLACKPINK」，較常購買的周邊商品「專輯」， 價格預算大多介於「1,000 以下」，大多藉由「社群網路」得知兩團體。 （三）消費者滿意度：「產品」、「價格」、「通路」與「推廣」，消費者對「BLACKPINK」 的滿意度皆高於「TWICE」，然「對團體整體滿意度」則是「TWICE」較高。 二、建議 （一）給「TWICE」與「BLACKPINK」之共同建議 1、兩個團體的成員都各有獨特的魅力頗受消費者的喜愛，但消費者在「周邊商品價格」 9 韓國流行音樂—「TWICE」與「BLACKPINK」之研究 較不滿意，比較沒有購買意願，建議可舉辦促銷活動提升買氣。 2、雖然兩個團體已經在 K-POP 界有一定地位，但可以舉辦有歷年專輯、舞台服裝及 寫真等的展示會，讓粉絲及非粉絲可以更加認識他們。 3、兩團可以跳出舒適圈，從元氣少女風轉換成性感成熟風，轉換不同風格，讓粉絲感 受到更不一樣的他們。 （二）給「TWICE」的建議 1、在專輯方面建議可以增加內容物，例如：小卡、歌詞本及海報等物品，藉此增加消 費者對專輯的興趣；在代言商品方面建議可多代言日常用品，可增加團體的曝光 度。 2、建議成員可以開通個人官方帳號，藉此增加與粉絲的互動，可以讓粉絲得知更多相 關資訊。 （三）給「BLACKPINK」建議 1、建議可以多拍攝團體綜藝，讓粉絲更加貼近偶像的日常生活，也可以認識偶像不一 樣的一面，讓粉絲更加對他們產生興趣。 2、因為新冠狀病毒，許多團體無法以演唱會及簽名會的方式與粉絲見面，所以許多團 體都在開線上演唱會，建議 BLACKPINK 可增加線上演唱會的數量。 肆、引註資料 曾晏詩（譯）（ 2016）。YG 就是不一樣（原作者：孫南源）。台北市：大田出版社。（原 著出版年：2015）。 JYP Entertainment。2020 年 10 月 24 日，取自 https://m.jype.com/ YG Entertainment。2020 年 10 月 24 日，取自 https://www.ygfamily.com/ 吳文立、李亮生（2019）。商業概論（上）、（下）。台北市：旗立資訊。 10 .
Recommended publications
  • The Globalization of K-Pop: the Interplay of External and Internal Forces

    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.
  • Conceptually Androgynous

    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 .................................................................................................................................
  • YG Entertainment Buy (122870 KQ ) (Maintain)

    YG Entertainment Buy (122870 KQ ) (Maintain)

    [Korea] Entertainment May 13, 2021 YG Entertainment Buy (122870 KQ ) (Maintain) Increasing content leverage TP: W56,000 Upside: 25.8% Mirae Asset Securities Co., Ltd. Jeong -yeob Park [email protected] 1Q21 review : Big earnings beat Consolidated revenue of W97bn (+83.9% YoY), OP of W9.5bn (turn to profit YoY) In 1Q21, YG Entertainment proved its enhanced fundamentals by overcoming the absence of offline performances/activities with the release of new content (Rosé and Treasure). Revenue from albums/digital content/goods was up 170.6% YoY, driven by strong sales of albums (980,000 copies; helped by new releases) and goods. Digital content revenue surged 125.6% YoY, boosted by BLACKPINK’s online concert (280,000 paid views and net revenue of around W8bn). Revenue from Google came in strong at W4.5bn (excluding BLACKPINK concert; vs. W2.5bn in 1Q20) on the back of new releases and subscriber growth. Despite constraints on artist activities, management revenue expanded 44.7% YoY, fueled by luxury advertisers’ (Dior, Saint Laurent and Tiffany & Co.) strong preference for YG artists. Elsewhere, the company recorded W15.6bn from TV production (YG Studioplex’s Mr. Queen ) and a valuation gain of roughly W5bn related to Tencent Music Entertainment. Expectations on 2H21 artist Artist activities to gather steam; IP monetization to strengthen on Weverse incl usion activities and Weverse 1) Earnings: During the 2018-20 absence of its main artist group, YG Entertainment built a robust lineup that includes BLACKPINK, Treasure, and iKON. We expect robust ad and appearance income to continue, supported by the growing international profile of the company’s artists.
  • CHAPTER II LITERATURE REVIEW 2.1. Theoretical Review

    CHAPTER II LITERATURE REVIEW 2.1. Theoretical Review

    CHAPTER II LITERATURE REVIEW 2.1. Theoretical Review 2.1.1 Korean Pop Psy was the first Korean artist that debut his career as the global pop star with his hit single Gangnam Style in 2012 (Billboard, 2018). Formerly, there were also other boy and girl groups from Korea that have entranced a massive number of young Asian and European fans. They were rushed to quickly sold outlive concerts and/ or YouTube for instant and free access to music videos but not as successful as Psy. If we see from the root, Korean culture was firstly known because of their Korean Drama in around 2002. Their first drama series called Winter Sonata was first aired at Korean Broadcasting System (KBS) and became an overnight sensation not only in Korea but also in Japan. It was presumed to be signaled for many the beginning of the Korean Wave. Besides, the joint hosting between Japan and South Korea of the 2002 World Cup also becoming the reason people start to recognized the Korean culture. These past years, K-Pop is like a never-ending story people from around the world which are now constantly discovered this genre. With the help of Internet, K-Pop is aggressively entering the global industry. People do not only enjoy the music but also K-Pop’s star show their significant 8 fashion style and people surprisingly adapt to this style. As the investigation from BBC 1 Radio (2018), it discovered that Korean fashion is different than the other styles. In every performance the K-Pop star is required to wearing fashionable outfits and even their airport outfits are becoming something essential.
  • Running Head: K-POP FANSHIP, FANDOM, SOCIAL IDENTITY THEORY

    Running Head: K-POP FANSHIP, FANDOM, SOCIAL IDENTITY THEORY

    Running Head: K-POP FANSHIP, FANDOM, SOCIAL IDENTITY THEORY. 1 Positive Psychosocial Outcomes and Fanship in K-Pop Fans: A Social Identity Theory Perspective. Author Derek A. Laffan Affiliation Dún Laoghaire Institute of Art, Design and Technology Please cite this work as follows: Laffan, D. A. (2020). Positive Psychosocial Outcomes and Fanship in K-Pop Fans: A Social Identity Theory Perspective. Psychological Reports. doi: https://doi.org/10.1177%2F0033294120961524. [Link to article: https://journals.sagepub.com/eprint/ 7RFN3NQNZRFDYWR4C76V/full] Running Head: K-POP FANSHIP, FANDOM, SOCIAL IDENTITY THEORY. 2 Positive Psychosocial Outcomes and Fanship in K-Pop Fans: A Social Identity Theory Perspective. Abstract Korean pop culture (K-Pop) has spread its influence outside of Korea to a worldwide fan audience. The present study investigated the self-categorised K-Pop fandom characteristics that predicted higher levels of K-Pop fanship, and subsequent psychosocial outcomes. Social identity theory was applied as a theoretical framework. In total, 1477 K-Pop fans from 92 predominantly Western countries fully completed an extensive online survey measuring fanship, fandom and psychosocial outcomes (happiness, self-esteem and social connectedness). Results of this study indicated that K- Pop fanship was significantly predicted by a several K-Pop demographic and fandom characteristics. K-Pop fanship was a significant predictor of increased happiness, self-esteem and social connectedness. The study findings advance the application of social identity theory in a K-Pop fan context and the psychological fanship research more broadly. Keywords: Social identity theory, fanship, fandom, K-Pop, self-categorisation. Running Head: K-POP FANSHIP, FANDOM, SOCIAL IDENTITY THEORY.
  • Gender Discrimination in the K-Pop Industry

    Gender Discrimination in the K-Pop Industry

    Journal of International Women's Studies Volume 22 Issue 7 Gendering the Labor Market: Women’s Article 2 Struggles in the Global Labor Force July 2021 Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry Liz Jonas Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Jonas, Liz (2021). Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry. Journal of International Women's Studies, 22(7), 3-18. Available at: https://vc.bridgew.edu/jiws/vol22/iss7/2 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2021 Journal of International Women’s Studies. Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry By Liz Jonas1 Abstract This paper explores the ways in which the idol industry portrays male and female bodies through the comparison of idol groups and the dominant ways in which they are marketed to the public. A key difference is the absence or presence of agency. Whereas boy group content may market towards the female gaze, their content is crafted by a largely male creative staff or the idols themselves, affording the idols agency over their choices or placing them in power holding positions. Contrasted, girl groups are marketed towards the male gaze, by a largely male creative staff and with less idols participating.
  • Diversity of K-Pop: a Focus on Race, Language, and Musical Genre

    Diversity of K-Pop: a Focus on Race, Language, and Musical Genre

    DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language.
  • Analysis of the Global-Local-Global Strategy in K-Pop Music Videos

    Analysis of the Global-Local-Global Strategy in K-Pop Music Videos

    Analysis of the global-local-global strategy in K-pop music videos Yasmine El Ouahi Hajji Tutor: Núria Vergés Bosch Bachelor’s Degree in International Business Faculty of Economics and Business University of Barcelona ABSTRACT K-pop music videos are a global sensation that are breaking YouTube streaming records since the virality of the hit single ‘Gangnam Style’ by PSY in 2012. After that, South Korean pop music artists and bands such as BTS or BLACKPINK kept dominating international charts and winning the admiration of millions of fans through their music videos. According to academic researchers, this was made possible because of a unique internationalization strategy called global-local-global which consists of the hybridity of cultural product by combining global production factors to a South Korean product with the goal of reaching an international audience by using a foreign distributor channel (YouTube). To understand the characteristics and evolution of this method, K-pop music videos with most YouTube views of each year from 2012 up to 2020 where analyzed. The aspects discussed and their respective evolution throughout the years were the nationality of the K-pop music videos producers, the identification of Korean and foreign elements in the visuals, the use of English in the lyrics, music style, the artists looks and also the use of YouTube digital tools. From the analysis of the music videos, the factors that did help with the popularity of K-pop where the progressive increase of English in the lyrics compared to Korean, the quality camerawork and great scenography together with the use of choreographies and YouTube hashtags and subtitles.
  • An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California

    An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California

    UCLA UCLA Entertainment Law Review Title Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California Permalink https://escholarship.org/uc/item/88z2z7wm Journal UCLA Entertainment Law Review, 20(2) ISSN 1073-2896 Author Tsai, Patricia Publication Date 2013 DOI 10.5070/LR8202027172 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Tal- ent Agencies Act of California Patricia Tsai* The 360 deal has been an attractive option for music labels in the United States to gain traction in the faltering music industry, but po- tential legal obstacles may hinder the incentive to enter into the deals both for the label andfor the artist. Labels entering into 360 deals may find themselves liablefor violating the Seven-Year Statute or the Talent Agencies Act (TAA). With 360 agreements becoming more popular, labels should turn to an existing music industry that has dealt with the potentiallegal problems of 360 dealsfor years. The Korean pop industry, commonly called "K-pop, " has taken advantage of a 360-deal-like model for many years, and as a conse- quence, many Korean labels have experienced the potential legal prob- lems that American labels may face. Particularly,the legal problems faced by S.M Entertainment, a talent agency and music label giant in South Korea, as a result of their contract with TVXQ, a popular and hugely successful boy band,reveal exactly the type ofpotential liability faced by American music labels.
  • BTS Versus Blackpink Korean Boy Bands Are Subverting Gender Stereotypes; Korean Girl Groups Are Reinforcing Them by OPHELIE SURCOUF

    BTS Versus Blackpink Korean Boy Bands Are Subverting Gender Stereotypes; Korean Girl Groups Are Reinforcing Them by OPHELIE SURCOUF

    English EST 1995 GREATER CHINA NORTHEAST ASIA SOUTHEAST ASIA SOUTH ASIA OCEANIA MIDDLE EAST WORLD OPINION TOPICS AT LIFE K-POP MAY 17, 2019 Korean boy band BTS at the 32nd Golden Disc Awards on January 10, 2018. Photo: WiKipedia Gender and genre: BTS versus Blackpink Korean boy bands are subverting gender stereotypes; Korean girl groups are reinforcing them By OPHELIE SURCOUF s any inhabitant of planet earth with access to a computer or TV will have noted, boy band BTS and girl group Blackpink are seismically A moving and shaking the global music scene, surfing a tidal wave of K- pop as it crashes upon global shores. The exposure of the two supergroups recently sky-rocketed to ever greater heights when, one after the other, they smashed YouTube records of “Most Viewed Clips in the first 24 Hours.” Blackpink was first with “Kill This Love” – ringing up 56.7 million views. Barely 24 hours later, BTS shattered that number, raising it by 20 million views, with “Boys with Luv.” Both have also performed on massive American stages – Saturday Night Live for BTS and the Coachella music festival for Blackpink. So has K-pop as a genre truly gone global? Or is it simply that, as the world goes gaga over the Bantang Boys, BTS is dragging Blackpink in its foaming wake? BTS Performs ‘Boy With Luv’ Sorry Blackpink, but… The two groups come from the same place and are often mentioned in the same breath. But when it comes to sales, the chasm between them is glaring. In 2019, Blackpink’s EP Kill This Love broke the record for the highest first-day sales for a girl group album with 78 275 copies sold, according to Hanteo.
  • Effective Marketing Strategies in K-Pop Industry

    Effective Marketing Strategies in K-Pop Industry

    Huy Quang Le Effective marketing strategies in K-pop industry Case study: TWICE - JYP Entertainment Bachelor Thesis Autumn 2018 Business School Degree Programme in International Business 2 SEINÄJOKI UNIVERSITY OF APPLIED SCIENCES Thesis abstract Faculty: Business School Degree Programme: International Business Specialisation: International Business Author(s): Huy Quang Le Title of thesis: Effective marketing strategies in K-pop industry Supervisor(s): Miia Koski Year:_2018 Number of pages: 28 Number of appendices: 1 Twice is currently leading girls group in the K-pop music industry. The group has attracted a significant number of fans not only in South Korea but also all around the world, thanks to spectacular marketing strategies from their managing company- JYP Entertainment. The aim of this thesis is to have a closer look on what are the key marketing strate- gies that JYP Entertainment has used to promote for Twice. There are two main parts in this thesis: theoretical framework and empirical study. In the theoretical part, a basic principle of marketing has been introduced as well as digital and social me- dia marketing. Moreover, a brief introduction about K-pop industry, JYP Entertain- ment, the girl group Twice and their marketing methods has also been presented as well as how K-pop, a music style with vast of audio-visual components has become a phenomenon worldwide. In the empirical part, a quantitative survey of random 100 people who interested in K-pop music was conducted to analyse the potential customers group and their be- haviour. Eventually, the results will help the entertainment companies creating a marketing strategy to attract more fans for their artists.
  • Representasi Perempuan Pada Poster Teaser Album K-Pop Blackpink Dan Twice

    Representasi Perempuan Pada Poster Teaser Album K-Pop Blackpink Dan Twice

    REPRESENTASI PEREMPUAN PADA POSTER TEASER ALBUM K-POP BLACKPINK DAN TWICE Yongkie Angkawijaya, Yudhistya Ayu Kusumawati Visual Communication Design Department, School of Design, Bina Nusantara University, Jakarta, Indonesia 11480 email: [email protected], [email protected] ABSTRAK K-Pop telah menjadi fenomena global dikenal dengan istilah hallyu. Bentuk invasi global tersebut mulai dari makanan Korea, gaya fashion, perawatan kecantikan, hingga musik K-Pop. Hingga beberapa dekade saat ini terdapat banyak grup K-Pop yang dikuasai oleh agensi besar seperti YG, JYP, dan SM Entertainment. BLACKPINK K-Pop grup yang dibentuk oleh YG Entertainment, sedangkan TWICE dari JYP Entertainment. Kedua K-Pop grup tersebut memiliki konsep yang berbeda yang direpresentasikan dalam desain poster teaser album. Paper ini mengeksplor konsep visual pada poster album BLACKPINK dan TWICE. Semiotika Roland Barthes digunakan untuk menganalisis representasi perempuan dalam poster album BLACKPINK dan TWICE. Pada penelitian ini ditemukan BLACKPINK menampilkan konsep girlpower dualitas antara hitam dan pink. Sedangkan TWICE lebih merepresentasikan konsep anak muda yang penuh semangat, keceriaan dan energik. Kata Kunci: Analisis Visual, Representasi Perempuan, Poster Album, K-Pop ABSTRACT K-Pop has become a global phenomenon. People call it Hallyu, the Korean wave which has become a major driver of global culture. It has been seen on various aspects such as drama, fashion style, makeup or skincare, and music performance. There are many Korean groups now and K-Pop agencies such as YG, JYP and SM Entertainment. BLACKPINK is one of the most famous South Korea girl groups formed by YG Entertainment. TWICE is girl group formed by JYP Entertainment. Both BLACKPINK and TWICE portrays powerful and strong concept represented in their poster album.