• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.802-813
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• 2016

This study examined the Japanese and Chinese journalist's views on anti-Korean wave, who are the public and authoritative discourse producers in Japan and China, respectively. In so doing, the study aims to understand the ways in which the phenomena of anti-Korean wave take place and are diffused. According to the findings, anti-Korean wave in north-east Asia is affected by anti-Korea sentiments that have been induced from historical and political relations as well as cultural conflicts. In specific, the anti-Korea sentiments found in both Japan and China are geopolitical particularity and historical relations function to frame their cultural receptions of Korean pop culture. In other words, the phenomena of anti-Korean wave in both countries do not stem directly from local audiences' either discontents or apathy on Korean pop contents. However, while Japanese anti-Korean wave seems to be mere expressions of anti-Korea sentiments, Chinese sentiments of anti-Korean wave are triggered and transferred by, or articulated with their anti-Korea sentiments.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.594-601
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• 2020

This study focuses on the changes in the national innovation system between Korea and China since the 1990s, and studies how to benchmark the limitations of the current national innovation system in Korea from successful national innovation systems in China and apply it to Korean cultural contents. As a result of the review, the current cultural content of Korea is a time when it is necessary to drive sustainable growth in a rapidly changing era, and as a result of applying it from the successful cases of China's national innovation system, it is necessary to change the production of Korean cultural content of the Push strategy into a Pull strategy. In other words, it is necessary to produce cultural contents that fit the paradigm of market change. In addition, the existing technology should lead to the creation of new added value from each element composed of Korean cultural contents, K-pop, K-beauty, Korean food, and above all, it is necessary to institutional innovation of the country in distribution abroad.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• 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.

• Cartoon and Animation Studies
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• s.35
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• pp.313-327
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• 2014

Starting with a Korean soap opera in the year 1993, entertainment industry of South Korea such as K-pop, soap operas, Korean celebrities has been introduced and spread throughout China. The new word 'Korean wave' was coined by fans of Korean entertainment culture at this time, and passion on the subject gradually expanded from soap operas to entertainment programs in the market of China. It is necessary to analyze the current situation that Korean entertainment programs gaining tremendous popularity on the entertainment field in China and research on ways to cope with the fierce competition and to change to survive from it. Nowadays Korea has its own unique attribute with its national traits after years of mere imitative adaptation from broadcast program of Japan and that of America since 1980's. Regarding the process, similar situation is ongoing on the entertainment field in China. This paper intends to study potential of Chinese entertainment industry compared to the differences on programs between Korea and China by scoping out success of Korean entertainment program in China and the impact on Chinese entertainment market.

• Journal of Korean language education
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• v.28 no.4
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• pp.367-402
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• 2017

The current study seeks to understand the multi-faceted desires of language learners through the theoretical lens of imagined communities (Norton, 2001). Particularly, the study focuses on the learners of Korean language-one of the less commonly taught languages in the U.S. that has received relatively less attention in previous literature on second language motivation. The study analyzed and compared the narratives told by eleven Korean language learners in a post-secondary language program, and identified four types of imagined communities: Communities of K-pop Culture, Communities of Professionals, Communities of Korean Family and Relatives, and Communities of ethnic Koreans. The study found that these imagined communities were not restricted to a specific region or an ethnic group but encompassed various populations connected through the use of Korean language. The study also found variability within what has been readily labelled as heritage motivation (or motivation related to heritage), as well as striking differences between heritage language learners and non-heritage language learners in terms of their scope of imagination.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.166-173
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• 2011

Asia has shown a tendency that a certain country's culture leads the fashion in turn every 10 years. The trend of Hong Kong movies in 1980's was called 'Hong Kong Wave', the trend of Japanese animation and games in 1990's was called 'Japanese Wave', and then the 'Korean Wave' began in the late 1990's. This term '~Wave(流)' is a Japanese-style term meaning '~way', '~style', '~group', and so on. In the same manner, recent popularity of Taiwanese TV dramas and a particular star that is in fashion in Japan are called 'Taiwanese Wave', and Chinese movies, broadcast, tourism, and etc. are called 'Chinese Wave'. Thus, the term 'Korean Wave' is a part of expression '~wave' used in Japan and it started to be used in the mean time, and was officially used in <韓流-Song from Korea>, a promotion record of Korean pop music, produced by Ministry of Culture and Tourism in Korea. In this paper I propose to correct the error of the term 'Korean Wave', and furthermore, to define a term expressing Korean culture and study for its usage.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• Cross-Cultural Studies
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• v.44
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• pp.59-85
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• 2016

In the 21st century there has been an explosive gain in the popularity of Korean culture, often referred to as Hallyu, which translates into 'Korean Wave'. This is especially true in Latin America, which has seen Hallyu reach enormous heights. This study investigates the Hallyu phenomenon in Mexico and Peru over a three year period (2012-2014), with the utilization of current facts and media analysis associated with Hallyu. Mexico as a nation is an important one for this study, considering it was the first country to adopt Hallyu in Latin America and still holds a strong influence in the growth and movement of Hallyu in this region. Furthermore, in recent years, Peru has seen the most growth in popularity of Hallyu in Latin America and is therefore an essential country of study. Therefore, an in depth media analysis of the Hallyu phenomenon in Peru will offer a strong case study for further progressing and extending the rise in Korean culture in the region of Latin America. The extension of Hallyu is imperative in its contribution to the ascension of Korea's culture and national brand image.

• International Journal of Contents
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• v.10 no.1
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• pp.36-42
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• 2014

Previous studies of the Korean wave have focused mainly on fan clubs by taking an ethnographic approach in the context of countries in Southeast Asia and, in a minor extension, Europe. This study fills the gap in the literature by providing a social network analysis of Tweets in the context of Mexico. We used the Twitter API in order to collect Twitter comments with the hashtag #kpop from March to August 2012, analyzing them with a set of webometric methodologies. The results indicate that #kpop power Twitterians in Mexico were more likely to be related to the public television broadcast. The sent Tweets were usually related to their programs and promotion for Kpop artists. These Tweets tended to be positive, and according to URLs, not only Kpop but also Korean dramas had considerable influence on the Korean wave in Mexico.