• Journal of Korea Game Society
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• v.14 no.4
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• pp.75-86
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• 2014

This study explored the expandability and prospect of the game, one of the cultural contents that may potentially lead the next Korean Wave. The study found that for the game to grow and be recognized as the cultural product of the Korean Wave, it was necessary to develop the strategies to ensure the sustainability of the game and to build plans for powerful storytelling techniques that help the public become more familiarized with the game as part of the Korean Wave and maximize the public's affinity and preference of such game. It was also found that one of the immediate priorities is to develop the games that are characterized as their unique use and representation of the Korean culture in the global market while designing effective localization plans and paving the way for a government-level system of support.

• Proceedings of the KAIS Fall Conference
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• 2012.05a
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• pp.245-248
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• 2012

한국 대중문화의 발전과 더불어 국내외에서는 한류라는 브랜드로 대한민국의 문화와 대한민국 자체에 대하여 많은 호감과 함께 질투의 시선을 보내고 있다. 이러한 대한민국의 대중문화산업은 이제 대한민국을 벗어나 우리만의 문화가 아닌 세계를 지향하며 공감대를 형성하는 문화로 발전하고 있으며, 대중적인 인기를 얻고 있는 스타들이 문화첨병의 역할을 하고 있는 상황이다. 이제 한국의 대중문화는 우리만의 것이 아닌 세계인과 소통하고 나누어야 하는 문화인 것이다. 대한민국의 문화산업은 이제 가파른 성장만이 아닌 기본에 충실한 역사와 철학을 수반해야 할 것이며, 대중에 대한 사회적인 책임과 역할을 수행함으로써 더욱더 세계의 문화와 교감하며 발전해 나갈 수 있을 것이다. 그러므로 본 논문에서는 대중들의 사랑을 통하여 성장하는 스타들의 사회적 기여와 그 활동에 대한 사례를 살펴보고 한류의 지속적인 발전과 문화 창출을 위한 올바른 소셜테이너로서의 책임 및 역할과 지구공동체를 위한 힐링 소사이어티에 대하여 고찰해 보고자 한다.

• Journal of Internet Computing and Services
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• v.18 no.2
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• pp.87-96
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• 2017

Since SNS has gained its popularity as the means of diffusion of Hallyu, this study aims to examine the relationships between SNS use and Hallyu. In particular, this study explored how the use of SNS as a tool for obtaining information about Korean entertainment influence Chinese attitude toward Hallyu and Hallyu contents In doing so, the study conducted the case of Sina Weibo, the most leading SNS in China. The survey questionnaire was administrated to college students who use Sina Weibo in China. Two hundreds forty one surveys were included in the final analysis. The result indicated that Sina Weibo use is strong predictor influencing attitude toward Hallyu and Hallyu contents. The more students use Sina Weibo to get Korean entertainment information the more they have positive attitude toward Hallyu contents and acceptance of Hallyu in their life. In addition, the study found that attitude toward Hallyu(in terms of acceptability) depends on the level of activity in the Sina Weibo among college students in China. In other words, the passive users (e.g. lurking) are more likely to adopt Hallyu rather than active users (e.g. people who are more likely to retweet Korean entertainment information on Sina Weibo or click 'like). Based on these findings the implications, limitations and directions for future studies are discussed.

• Korean journal of communication and information
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• v.34
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• pp.196-243
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• 2006

The popularity of Korea pop culture, which called as the name of "Korea wave", has started to spread out in China and other Asian states from late-1990's. The study about "Korea wave" until now, however, have prevailed within an economic point of view. So, I would like to clarify that this dissertation raises a question in exiting argument and explains the identity of "Korea wave" by investigating the details of pop culture contents of Korea, and understanding of chinese receiver. It shows that chinese receiver, watching the movie , has estimated in the affirmative viewpoint after I have analyzed a reply of movie web-site in China. The main features of this analysis prove that there are a lot of good estimation when chinese receiver have seen that movie because it has been well-matched with emotion and fun of story and attraction in the movie. In that order, Some Chinese netizen evaluated that there are some negative point of view as the main actress has a strange and crazy behavior. I have also found that Korea pop culture contents has not given to them good image and chinese receiver had a tendency to view objectively to classify with strength and weakness. Analysis to contrast understanding of Chinese netizen with Korea netizen showed that Korea netizen emphasized fun of story, however, Chinese netizen showed that they had a lot of opinion to be fresh and realistic relatively. In conclusion, I would like herewith to identify that there are some differences between Chinese netizen and Korean netizen after contacting the movie. The reason has showed that understanding about the same object can be a great deal of various consideration in two more diverse cultures which have many different social-cultural and historical situation.

• International Commerce and Information Review
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• v.19 no.3
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• pp.129-150
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• 2017

The Hallyu, or Korean Wave, has recently been proliferating around the world focusing on Asia. With the development of China's economy and the improvement of their people's living standards, Chinese consumption has been growing quickly. In cosmetic industry, Chinese consumers tend to prefer international brands including Korean cosmetics. There are various ways for Chinese consumers to purchase international brand cosmetics. One of them is overseas purchase via buying agent. This study is designed to exam various determinants of the overseas purchase. Based on empirical findings, product price and functionality can play an important role in terms of the overseas purchase. Also, moderating effects of an external factor(importing country's favorability) was empirically investigated. The results of SEM(Structural Equation Modeling) show that the relationship between consumer openness and overseas purchase via buying agent can be positively moderated by the favorability.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.