• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.131-142
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• 2019

This paper is intended to examine and analyze the new Chinese words as the result of culture content. The development of the Korean entertainment industry has created a Korean wave around the world. Through this, many Korean words, Internet vocabulary, and cultural concepts have begun to enter China. Among them, there are many new words that have appeared on the Chinese Internet due to the culture content. As the number of Korean fans and Korean learners increases, new words on the Internet are widely used. The new Chinese words, which are influenced by Korean cultural content, are considered an important part of new Chinese vocabulary. To accurately recognize and understand this, first of all six categories of the new Chinese words were analyzed, which were figurative meaning, substitution, loan of foreign words, abbreviation, compound word, derivation. This formulation also works on the Chinese words with the influence of cultural content. There are three types of the Internet new words form Korean cultural. Which were new words in Chinese characters, new words in alphabets, extended meanings. And had analyzed new words through the acquisition of new meanings. Also took specific news titles and songs according to each category. Through new Chinese words, The influence of cultural content had been confirmed. It is expected that these new Chinese words enrich Chinese vocabulary, also help to facilitate communication. And these new Chinese words are often used in public media or in everyday life. We should recognize the existence of these new Chinese words, and have an accurate perception of them.

• International Area Studies Review
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• v.13 no.3
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• pp.461-480
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• 2009

In proposing the concept of flow which focuses on experiencing the sites visited by Korean wave tourists as induced by drama or movies, this paper investigated role of involvement variables for Korean wave tourists in influencing flow construct of film sites. The involvement of Korean wave was found to operate as a mechanism by which challenge, skills, focused attention on site might be more organized or more actively experienced. This recognizes that there is clearly a need for making the FIT sites exposed much by any mix of various media. This study showed that challenges and skills influence enjoyment as output factor of flow film site visitors are assumed to participate the roles of film characters, experiencing the places and atmosphere. The degree of visitors' reflections in the film optimizes awareness of flow experiences on the site. Therefore, it is necessary to provide more detailed experiential program on the film sites with the wide variety of flow-related contents in the film.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.709-719
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• 2016

This study reviews the so-called 'format-export' of Korean TV entertainment programs to China, and ahalyze its effect on the spread of Hallyu in China. Format export has developed as an alternative for the export of Korean TV programs when the Chinese government restrict the broadcasting of foreign TV programs. In so doing, the study conducted surveys about the format-exported programs in Shanghai and Zhengzhou with the sample of 381 university students. The survey shows that the popularity of entertainment programs is so high as to compete with the popularity of K-pop. Respondents in Zhengzhou tend to watch format-exported programs first and then try to watch original Korean programs, while respondents in Shanghai are more likely to watch original Korean programs. This results suggest that format-export can help the spread of Hallyu in the inland local cities in China.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.99-104
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• 2020

It is needed to advance into the global market at the present time, which has the best educational contents along with the Korean Wave. In this study, an analysis was conducted to emphasize the necessity of entering educational contents into the global market, and in the necessity of disseminating educational contents and branding educational contents were approached. The strategies to enter the global market for educational contents are as follows; First, the government established a strategy for disseminating and using educational contents to expand overall cultural exchange with developing countries. Second, localization strategy for continuous growth of educational contents. Third, localization of contents and formation of partnership for local resistance, which is a response to unilateral propagation. Through the advancement of educational contents to the global market, it will be possible to sustain not only the positive effect on the national image, but also the economic effect that Korean Wave originally has.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.125-137
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• 2012

In this paper we draw from recent theoretical discussions of fan culture and the new media technologies to explore how online communities contribute to new forms of K-pop fandom. We suggest that these online sites play an important role in setting the new stage of dissemination and dialogue of K-pop knowledge, through which particular forms and spaces of online fan culture are being created and sustained. Moreover, these web-based communities challenge the existing concepts that have embraced interrelations between culture, consumption and technology. Based on an empirical study of YouTube, carried out using netnographic methods, this study tackles the following questions: how fans construct themselves as Korean pop fans through the online activities; how they exchange information and opinions of Korean stars; and, what meaning they extract from online file-sharing activities.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.831-835
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• 2023

In contrast to the global public's interest in the Korean Wave, which has persisted since the early 2000s, our efforts and knowledge on business studies that combine art and technology are limited. This study utilizes a case study methodology to select and analyze notable examples of the integration of various technologies into the performing arts for the growth of Korean performing arts and the continued growth of the Korean Wave. In particular, cases of performing arts utilizing Metaverse have been presented recently, but there is a lack of consideration from the stakeholders' perspective. This study aims to suggest implications for the revitalization of performing arts through the integration of various technologies through case study analysis from these perspectives.

• 프린팅코리아
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• v.11 no.5
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• pp.114-117
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• 2012

• 프린팅코리아
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• v.10 no.11
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• pp.120-123
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• 2011

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.548-559
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• 2019

K-pop has gone through ups and downs for 30 years since it was introduced to China in the 1990s. As the trigger for the 'Korean wave', K-pop has become a business card of Korean pop culture, which is another popular culture that has culminated in China after the 'Western wave', 'Japanese wave' and 'Hong Kong.Taiwan's wave'. Its wide range of influences and long time are rare in the world, so it can be regarded as a typical example of modern intercultural communication. The paper takes 1988-2018 as the time interval, combs the process of K-pop's intercultural communication in China. Based on this theory, it can make an objective evaluation on the current situation of K-pop in China. Then this paper discusses the influence of K-pop culture on the current Chinese university students through a questionnaire survey, and puts forward some developmental suggestions from the perspective of Chinese people. In order to provide a theoretical basis and enlightenment for the study of K-pop in China.