• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.13-25
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• 2019

Since reaching the top in the Billboard Main Album Chart 'Billboard 200' with Love Yourself: Tear in May of 2018, BTS once again took first place after just three months in the 'Billboard 200'(September 3, 2018) with the repackaged album Love Yourself: Answer. It opened the doors to the 'Hallyu 4.0' by conquering the main Billboard Chart with a song sung in Korean. BTS rose to the top on the 'Billboard 200' twice, thus being recognized globally for their musical talent(song, dance, promotion, etc.), and took their place in the mainstream music market of the world. BTS moved away from intuitive interaction such as mysticism, abnormality, irregularity, etc. but instead created their own world(BTS Universe) with fans around the world through two-directional communication such as consensus, sharing and co-existence. They are recognized as artists that went beyond being an idol group that simply released a few hit songs that had now elevated popular music to a new form of art. In result, they retained a highly loyal global fan base(A.R.M.Y.) and they are continuously creating good influence with them. This study analyzed the success factors of BTS using the S-M-C-R-E model as follows. ① Sender: BTS'7-person 7-colors fantasy and 'All-in-one storytelling' strategy of producer Bang Shi-hyuk ② Message: Create global consensus of 'you' rather than 'me' ③ Channel: Created real-time common grounds with global fans through social network platforms such as Youtube, Facebook and Instagram ④ Receiver: Formed highly loyal global fandom(A.R.M.Y.) that extends outside of Korea and Asia ⑤ Effect: Created additional economic value and spread good influence

• Korean Journal of Communication Studies
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• v.20 no.2
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• pp.105-132
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• 2012

This study is designed to explore the persuasion strategies applied to the student recruitment advertising of the Korean universities. Advertising is a "mirror" of a consumption culture in the sense that an advertising message is composed of the major consumption values (as the persuasive appeals) and the major premises of the consumption culture (as the persuasive premises). Furthermore, the analysis of the persuasive appeals and premises in advertising reveals the ideologies that govern the consumption culture. Thus, this study attempts to explicate the value systems and ideologies of Korean universities in the society by a semiotic decoding of their advertising text. Semiotic approach to "decoding advertising text" allows us to classify advertising signs and sign systems in relation to the way they are transmitted. To achieve this goal, this study investigates three research questions: ① What are the major persuasive appeals appeared in the university advertising? ② What are the persuasive premises underlying those persuasive appeals? ③ What are the ideologies that govern those persuasive appeals and premises in Korean university advertising? The study result reveals 15 major persuasive values and premises along with the four major ideologies governing the symbolism of Korean universities.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.37-57
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• 2018

With the spread of smart phones, interest in mobile media is on the increase as useful media recently. Mobile media is assessed as having differentiated advantages from existing media in that not only can they provide consumers with desired information anytime and anywhere but also real-time interaction is possible in them. So far, studies on mobile advertising were mostly researches analyzing satisfaction with, and acceptance of, mobile advertising based on survey, researches focusing on the factors affecting acceptance of mobile advertising messages and researches verifying the effect of mobile advertising on brand recall, advertising attitude and brand attitude through experiments. Most of the domestic mobile advertising studies related to advertisement effect and advertisement attitude have been conducted through experiments and surveys. The advertising effectiveness measure of the mobile ad used the attitude of the advertisement, purchase intention, etc. To date, there have been few studies on the effects of mobile advertising on actual advertising data to prove the characteristics of the advertising platform and to prove the relationship between the factors influencing the advertising effect and the factors. In order to explore advertising effect of mobile advertising platform currently commercialized, this study defined advertising characteristics and media characteristics from the perspective of advertiser, advertising platform and publisher and analyzed the influence of each characteristic on advertising effect. As the advertisement characteristics, we classified advertisement format classified by bar type and floating type, and advertisement material classified by image and text. We defined advertisement characteristics of advertisement platform as Hedonic and Utilitarian media characteristics. As a dependent variable, we use CTR, which is the ratio of response (click) to ad exposure. The theoretical background and the analysis of the mobile advertising business, the hypothesis that the advertisement effect is different according to the advertisement specification, the advertisement material, In the ad standard, bar ads are classified as static framing, Floating ads can be categorized as dynamic framing, and the hypothetical definition of floating advertisements, which are high-profile dynamic framing ads, is highly responsive. In advertising, images with high salience are defined to have higher ad response than text. In the media characteristics classified as practical / hedonic type, it is defined that the hedonic type media has a more relaxed tendency than the practical media, and there is a high possibility of receiving various information because there is no clear target. In addition, image material and hedonic media are defined to be highly effective in the interaction between advertisement specification and advertisement material, advertisement specifications and media characteristics, and advertisement material and media characteristics. As the result of regression analysis on each characteristic, material standard, which is a characteristic of mobile advertisement, and media characteristics separated into 'Hedonic' and 'Utilitarian' had significant influence on advertisement effect and mutual interaction effect was also confirmed. In the mobile advertising standard, the advertising effect of the floating advertisement is higher than that of the bar advertisement, Floating ads were more effective than text ads for image ads. In addition, it was confirmed that the advertising effect is higher in the practical media than the hedonic media. The research was carried out with the big data collected from the mobile advertising platform, and it was possible to grasp the advertising effect of the measure index standard which is used in the practical work which could not be grasped in the previous research. In other words, the study was conducted using the CTR, which is a measure of the effectiveness of the advertisement used in the online advertisement and the mobile advertisement, which are not dependent on the attitude of the ad, the attitude of the brand, and the purchase intention. This study suggests that CTR is used as a dependent variable of advertising effect based on actual data of mobile ad platform accumulated over a long period of time. The results of this study is expected to contribute to establishment of optimum advertisement strategy such as creation of advertising materials and planning of media which suit advertised products at the time of mobile advertisement.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.