• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.221-232
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• 2019

The uniqueness of the K-Pop 'idol' culture, which is a key area of its success, can be found not only through the acceptance of diverse cultures and the strengthening of the performance capacity, but also by the effective utilization of new technological environment. As a result, the Korean idol system, which is distinguished from the Japanese idol system, is established. And these systems are evolving with new technological environments. This paper examines the process of evolution of the Korean idol system that adapts to the technical environment through the case of the idol girl group 'IZ*ONE'. 'IZ*ONE' not only achieved rapid success by actively utilizing SNS and new media and producing interactive narratives, but also establishing stable expansion and homogeneity of fandom through interactive rituals. By comparing the evolution and achievement of such a system with the Japanese idol system, we will be able to present the factors of K-Pop success more clearly.

• Journal of the Korea Society of Computer and Information
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• v.25 no.12
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• pp.271-278
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• 2020

This study looked at the World Martial Arts Mastership's 'non-face promotional media strategies and methods' after the Corona-19 fandom, and found out if they could be applied to other sports events. As a method of research, the promotional media strategy of martial arts mastership was divided into types and in-depth interviews with media agents were conducted. According to the study, hosting an online martial arts competition, building an untact convention platform, and a base education facility can be a successful contest with budget support. Martial arts branding, popularization and industrialization can be a new attempt if ideas and execution personnel are sufficient. If IT technology and Chungbuk martial arts infrastructure are combined, they will be able to pioneer a new model called 'non-face-to-face-to K-sports'.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.537-541
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• 2022

As technology advances, various applications linked to the music industry are becoming popular through new media. There have been many changes in the music market. Beyond the existing music market, where music copyright and performance rights were the center of the music business, we are unifying and operating communication channels that connect artists and fans, such as investment products derived from music copyrights. The technology that connects the fandom with additional business digital content has transformed into global platforms such as HYBE Entertainment's and YG Entertainment's Weverse, as well as SM Entertainment's Bubble. In addition, various national support projects to build a 5G MEC (MobileEdge Computing) environment to quickly respond to the rapidly changing 5G industry ecosystem are supporting for the immersive content demonstration, immersive content testing, and technical analysis, we are laying the groundwork to efficiently respond to the ever-expanding metaverse content market. Technology is changing dramatically. Therefore, we would like to study to changes in the music market brought about by technology and suggest strategies for a new era in the music business.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.787-800
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• 2023

This paper is a study aimed at facilitating a comprehensive understanding of the music metaverse platform that will emerge in the era of Web 3.0 and exploring productive strategies for its construction. We examine the significance of the metaverse music platform from various perspectives and investigate the developmental process of digital music platforms from Web 1.0 to 3.0. Subsequently, assuming the emergence of metaverse platforms as a transition to Web 3.0, we align this transition with technological(VR technology, wearable devices, generative AI), cultural(digital avatars, fandom), and economic(NFT) discussions related to Web 3.0. These discussions are integrated with the developmental strategies of the metaverse music platform. Through this study, we hope to enhance the understanding of the metaverse music platform and provide insights into potential construction strategies.

• Cartoon and Animation Studies
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• s.30
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• pp.263-291
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• 2013

In this article, I analyze Korean Dong-in culture and its relationship with Yaoi, focusing on the changes in the 1990s. While Korean Dong-in culture has developed under the influence of Japanese Dojin culture, it is not well-known that Korean Dong-in culture has its own characteristics, reflecting the unique situations surrounding the Korean society. The reason that I pay attention to the changes in the 1990s is that they have created the foundation of the current Korean dong-in culture through changes such as the import and reception of Yaoi, the creation of 'virtual community' in PC telecommunication, the enforcement of Juvenile Protection Law, and the inauguration of 'Comic World,' Among them, the import and reception of Yaoi, a genre characterized by homosexuality including sexual relationship and fanwork, played a decisive role in the change of dong-in culture from manwha circle by highly motivated amatuer artists to fandom. The circumstances that original manhwa dong-in by manwha circle and Yaoi by manhwa fandom coexisted by the mid-1990s, the enforcement of Juvenile Protection Law and the lift of ban on Japanese popular culture rapidly weakened original manhwa dong-in. Also, the popularity of Comic World as a new type of dong-in events reflected the spread of fanwork as a new trend of Korean dong-in. In summary, the import and reception of Yaoi should be considered as one of the important changes in the 1990s Korean Dong-in culture, because 1) Korean women considered Yaoi as a liberating subculture by its powerful contents-homosexuality with sexual relationship, and 2) Yaoi succeeded in attracting new population favoring fanwork as a major trend in Korean Dong-in, differentiated from original manhwa circle population.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.8
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• pp.3672-3681
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• 2013

The purpose of this study was to analyze subculture of professional football supporters with a view of Bourdieu's Habitus theory. What sorts of mechanism were worked when supporters formed their Habitus. The methods adopted in the article was qualitative. The qualitative information on the nature of their fandom was gleaned from 'virtual participant observation' or 'interviewing' of professional football fans that participated in discussions on the internet and participant observation of professional fans. The intensity and criteria sampling method was used to select 6 supporters who had participated in the supporting activities for more than five years and played crucial roles in running their organization as officials. The textual analysis which is consisting of translation, coding, and processing was used to mean the identification and exegesis of contextualization cues that make a text meaningful to the professional football supporters. an intended audience. The findings of this study were that (1) the subculture variety of activities for players and coaching staffs were the fundamental factors when supporters formed their subculture. (2) the professional supporters became habitus through the progressively development of subcultures such as enthusiastic supporters, small meetings, and events relating to soccer players.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.111-116
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• 2020

This is a case study of corporate culture marketing to commemorate the 10th anniversary of the death of Steve Jobs on October 5, 2021. Corporate culture marketing seeks to derive cultural consumer values through Steve Jobs' fandom, and to increase corporate brand image and achieve profits. According to Big Data, Steve Jobs' brand image was derived from 'Innovation', 'First', 'Creativity', 'Change', and 'Design'. So, the relationship between Spigen convergence culture space 'SpigenHall', which is highly related to Steve Jobs' brand image, and the opera , which is made of the material of former Apple CEO Steve Jobs, is analyzed with big data and culture. We investigated the opinions of content experts. SpigenKorea and the digital opera are designed to provide Steve Jobs' story of joy and sorrow, offer VIP members' premium services, press publicity is 'the first in Korea', GangNam's suitable for famous celebrity performance venues and cultural and artistic venues 'SpigenHall', the revenue of the performance ticket was selected as a donation. This study is suitable for researching the life story of male CEOs and planning a cultural city. The limitations of the study need to analyze various works by genre and attempt to analyze consumer values according to the industry.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.598-608
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• 2016

This paper attempts to analyze the narrative strategy of co-produced transnational romance films, (2007) and (2010). These films were produced during the heyday of Korean wave, the phenomenon Korean popular culture enjoys overseas fandom. Coupling Korean male star with Japanese female star, and dramatizing their romance, the industries attempted to attract the nations' cultural consumers. International co-production has been considered as a mode of production strategic enough to penetrate into neighboring nations. One of the major benefits of international co-production is to cope with 'cultural discount' between nations. Since producers and directors from different cultural background can participate in the creative process and share ideas, they can devise quite strategic form and content to please culturally heterogeneous consumers. Korea and Japan have long been in socio-political conflict, which makes it crucial for these films' cultural producers not to stir spectators' nationalism. In other words, these films' cultural producers had to develop a narrative strategy not to analogize nations' political reality. This paper, therefore, aims to analyze the narrative structure of these films, and to specify narrative strategy in detail.

• Journal of the Korea Society of Computer and Information
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• v.26 no.9
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• pp.201-212
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• 2021

This study aims to empirically measure K-pop fans' content and the extent of online activities. To achieve the purpose of the study, the researchers identify the statistically significant online activities that determine the intensity of fan attachment toward K-pop artists. Further, the research confirms the relative importance of various meaningful online activities. Consequently, we can develop the K-pop Online Activity Index (KOAI) model and apply it to this index model empirically for each respondent. We found that the model consists of five online activities of K-pop fans: whether joining the fan club or not, whether paying per view V live+ or not, whether watching VODs associated with artists or not, the degree of fan club writing, the degree of watching a lot on YouTube to improve the value of my artists. This study has practical significance in that it allows K-pop marketers to improve their marketing performance by providing content that will enable them to more efficiently and effectively allocate marketing resources to various online activities to get fan responses. It allows accumulating academic knowledge to understand the behavior in the field of online behavior for K-pop fans.

• Journal of Korea Entertainment Industry Association
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• v.15 no.6
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• pp.1-13
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• 2021

This study explored the mechanism by which Trot gained a superior position in the broadcasting contents market after the TV Chosun audition program was broadcast. We analyzed the narrative structure of the program to determine what differentiation and popularization strategy the trot audition program took from the existing audition program, and analyzed in-depth interviews with music experts and interviews with the production team. appealed to viewers with a strategy that reversed the success strategy of existing audition programs. First, the strong/non-competent participants did not compete with each other, but rather the strong/skilled players competed against each other. This trot audition set the singing ability as a new 'discourse on sincerity'. Second, we broke away from the 'demon editing', which was considered essential for audition programs, took a strategy of excluding villains. Third, we broke the practice of audition programs that were supposed to show expertise in specific genres, such as idol music, hip-hop, and bands, and combined trot with various genres. Fourth, unlike previous audition programs that mainly targeted specific generations or genders, the strategy was to expand the audience by targeting various age groups. Fifth, it has formed a middle-aged fandom with a 'subtitle strategy' that uses subtitles well to arouse viewers' interest and help empathize.