• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.213-217
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• 2022

It is a time when a sustainable Korean Culture Festival strategy is needed. The Korean Culture Festival is a Hallyu Culture Festival that comprehensively introduces various Korean cultures such as Korean food, beauty, and fashion with the focus on K content, which has been leading the global craze since 2020. As the core project of the promotion of Neo Hallyu by the Ministry of Culture and Gymnasium, the 2021 Korean Culture Festival, which was based on the World K-Pop concert and the K-Culture Fan Fair, including holding the first face-to-face concert that applied the stage of real-world content after Covid-19, as well as conducting and exhibiting various fan participation challenges, must now make the leap to the global Hallyu Culture Festival. To this end, it can consist of drama, K-pop, K-Culture Fan Fair, K-Meetup, K-Culture Parade, and Awards. This distinction shows a classic festival program centered around the prosumer content that drives the Korean Wave, and in order for this philosophy to be effectively linked to its contemporaries, a Business to Business (B2B) and Business to Consumer (B2C) 'Techtainment Strategy' is needed to acquire potential customers through learned playfulness.

• Journal of Koreanology Reviews
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• v.1 no.2
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• pp.1-9
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• 2022

Due in large part to the success of 'Korean Wave' (Hallyu) entertainment commodities, there was much discussion concerning the increasing recognition of Korean culture. With the government's help, South Korean pop culture has spread all over the globe, and Korean businesses have flourished thanks to their global competitiveness. The media in the surrounding areas were quick to catch on, and they all but declared the arrival of Hallyu. Despite a tragic and brutal history of invasions, wars, and dictatorships, South Korea has the 14th largest economy and is the 15th most significant country in terms of soft power. This is largely attributable to the country's leadership in technological and cultural revolutions. The enormous economic and political gains South Korea has experienced from its Hallyu phenomenon remain impressive and even threatening to other countries competing with it for cultural dominance. This is even though media figures in the country must constantly keep in mind new ways to maintain relevance and even enhance their favorability, as pop culture trends are transient and sometimes unpredictable. As South Korean culture spread to the West, Hallyu facilitated the export of several cultural artifacts, including classical music, theater, art, literature, and dance. The Baby Shark music video and song were both created by the Korean business Pink Fong.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.11-19
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• 2005

As the world becomes more globalized thanks to the fast development of the Internet, a national identity becomes more important than ever before. Based on this, the study searches for the identity of modern American architecture through exploring the influence of modem American fine arts on the contemporary architecture. It was found that the concepts and the attributes of modern American fine arts obviously transferred into the contemporary architecture. The main concept was elimination of any kind of illusion for maximization of reality, and it was rooted Into American culture, the way of life and thinking. With the concept, the attributes were divided into two extreme poles: materiality and morphology: the former was evolved from Abstract Expressionism and Post-Minimalism and transferred into Los Angeles Avant-Garde architecture; the latter was from Pop Art and transferred into Postmodern architecture and Pop Architecture.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.29-38
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• 2003

Reyner Banham characterized the Second Machine Age as the age of domestic electronics and synthetic chemistry in opposition to the First. It means technology and science would be popularized in the Second Machine Age. The Second Machine Age began in the mid-50's in which pop culture and SF became popularized. The architects in both Machine Age choose the scientifism as the motive of architectural design. But not all of them approach to the design with the pure theory of science. This study analyses the types of scientifism in architectural design in the 1950's and the 60's based on approaches to technology which might be classified as pragmatic, radical, and pop.

• Journal of the Korean Society of Food Culture
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• v.33 no.6
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• pp.501-511
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• 2018

Studies with various approaches are required for the globalization of Korean Food. The objectives of this study were i) how the preferences of foreign students residing in Korea on K-Wave, K-Drama, K-Pop and K-Friend affect their preference, satisfaction level and repurchase intention on Korean food, and ii) which of the factors have the strongest effects on their preference, satisfaction level and repurchase intention on Korean food. The results showed that the higher K-Wave, K-Drama, K-Pop and K-Friend preferences, the stronger effect on the preference, satisfaction level and repurchase intention on Korean food (p=0.0001). Among the factors for Korean food preference, the most critical one was K-Wave preference (p=0.0001), followed by K-Drama preference (p=0.0500). For the satisfaction level of Korean food, the most important factor among the four was K-Wave preference (p=0.0496), followed by K-Drama preference (p=0.0500). For the repurchase intention on Korean food, the most significant factor was the preference for K-Friend (p=0.0004), followed by K-Drama (p=0.0016) and K-Wave (p=0.0030). Based on these results, more efforts to invigorate the preferences for K-Wave and K-Drama, as well as various attempts to improve the preference for K-Friend are required for the globalization of Korean Food.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.578-590
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• 2003

The purpose of this study was to analyze the formative characteristics appeared in modem Kitsch fashion which has been shown through the empirical data photogrphes from the 2000's to 2003 and the formative characteristics of Kitsch were divided into the material, ornament, color, pattern to understand the modem Kitsch fashion. The findings of this study could be summarized as follows: First, the modem Kitsch fashion in the material was used cheap, counterfeit materials like vinyl, artificial leather, immitation fur, beads and non-artistic materials like metal, plastic, paper and voluptuous material like seethrough to express eroticism and superficiality as the characteristic of Kitsch. Second, Kitsch fashion in the ornament was shown over-decoration by using the various accessories like bracelet, metal belt, gloves, etc to express as childish and coarse mixtures as the characteristic of Kitsch. Third, the modem Kitsch fashion was using splendid and bright, primary colors to express the image of complicated accumulation. Fourth, the modern Kitsch fashion mainly in the pattern was using ethnic, folklore and pop art pattern or print used hippies and pop art fashion to express the primitive purity as bounding of civilized society.

• Fashion & Textile Research Journal
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• v.14 no.3
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• pp.400-412
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• 2012

This study explores the characteristics and effects of a pop-up store based on how the store attributions of a pop-up store influence brand attitude and brand patronage intention. The questionnaire consisted of 3 instruments: store attributes, brand attitude, and brand revisiting intention. Data were analyzed by factor analysis, frequency analysis, reliability analysis, and multiple regressions, using SPSS 18.0. We surveyed 123 males and females, who had an experience of a pop-up store, and interviewed five experts who work in the fashion related area. The results of this study were as follows. First, it was shown that VMD has positive impacts on brand patronage intention, but with no significant relationship to brand attitude. Second, a brand culture's experience of a pop-up store has a strong influence on brand attitude and brand patronage intention. Third, products in the store are the most important factors that influence brand attitude. The findings indicate that the promotion of diverse attributes of apop-up store is critical to make customers perceive brand attitude and brand patronage intention that are expected to be used to establish advanced marketing strategies.

• Journal of the Korean Society of Food Culture
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• v.29 no.3
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• pp.250-258
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• 2014

This research investigated the relationship among Korean Wave Cultural Contents consumption of Korean food, Korean products, and Learning of the Korean language. The survey targeted non-Koreans who were either interested in or experienced Korean Wave Cultural Contents. Exactly 61.3% of subjects had traveled to Korea. The most common method of experiencing the Korean Wave was via the Internet (57.7%), followed by TV (21.1%) and Mobile (7.7%). The most popular Korean Wave Contents were K-pop (35.2%) and TV Dramas (31.0%). Movies were preferred in the Americas ($3.63{\pm}0.83$) and Asia ($3.63{\pm}1.09$), whereas K-pop was preferred in Asia ($3.68{\pm}1.12$) and games preferred in Europe ($2.50{\pm}1.56$). Regarding Korean food, most participants had tasted Kimchi (81.7%), followed by Bulgogi (74.6%), Bibimbap (66.9%), and Galbi (66.2%). According to the country-by-country survey, in the case of Galbi (p<0.05), Bibimbap (p<0.05), and Bulgogi (p<0.05), Asians had more experiences with Korean food compared to those from other regions. Meanwhile, in the case of satisfaction of Korean food, Bulgogi ($4.22{\pm}1.05$) was ranked highest, whereas Kimchi ($3.85{\pm}1.15$) was ranked lowest. According to the region-by-region survey, those from Oceania and other regions preferred Kimchi ($4.25{\pm}0.71$) and Bulgogi ($4.50{\pm}4.50$) while the Americas preferred Galbi ($4.82{\pm}0.39$) and Bibimbap ($4.54{\pm}0.81$). Bulgogi ($2.76{\pm}0.06$) was highly ranked as a representative Korean Food while Kimchi ($2.44{\pm}0.71$) was ranked the lowest. This research explained that among Korean Wave Cultural Contents, movies and music positively influenced on the 'Image of Korea', movies and K-pop effected 'Purchasing intention of Korean products', and TV Dramas, movies, and K-pop effected 'Purchasing intention of Korean Food'.

• Journal of Distribution Science
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• v.13 no.2
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• pp.55-62
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• 2015

Purpose - This study aims to investigate the success factors pertaining to K-POPs from an analysis of the internal business environment. Much research has investigated Korean Moves or how to popularize them. The research mainly focused on aspects of Korean Moves. However, few studies have attempted to examine Korean Moves or K-POPs from a managerial viewpoint. The current research tries to investigate the success factors of K-POP from strategic perspectives, specifically utilizing internal resource based view perspectives. It differentiates itself by looking at the competitiveness of K-POP from the internal resources. Research design, data, and methodology - In the entertainment industry, where creativity is heavily stressed, competitiveness is often regarded within the organization as a form of intangible asset, knowledge, or technology that is often related with the organization's personnel. Some research has tried to reveal the competitiveness of K-POP using Porter's competitiveness of nations framework. Others utilize the adapted model of Porter's structure. However, these models only look at the outside environment, and not inside a firm's resource, knowledge, or capabilities. This research utilizes the VRIO model to examine the internal resources and capabilities of K-POP producers. The model measures whether a firm's internal resources and capabilities are valuable, rare, difficult to imitate by competitors, or organizable. The research covered businesses whose yearly revenue exceeds $10 Million in music planning and recording in South Korea. There were only thirteen such companies (one percent of the total population). Of these, companies for whom 20 percent or more of the sales revenue comes from the abroad are targeted. Only seven are selected and these participated in the research. In order to find a firm's internal resources, we conducted qualitative research methodology. Their business names and persons who participated in this research are not revealed due to case sensitive issues. Instead, we use unrelated initials for their names and their statements. Results - From the in-depth interview with top-tier K-POP producers and managers, the current research tried to identify resources and capabilities that helped to strengthen their competitiveness. These resources and capabilities are sought from the scope of the VRIO model, which looks at the internal resources and capabilities from the scope of value, rarity, imitability, and organization. Interviews with the top tier producers and managers reveal the internal success factors of K-POPs. We conclude that these resources and capabilities are from internally accumulated producing know-how, unique managing (training) system, and outstanding all-round entertainment capabilities of the performers. Conclusions - These results indicate that the core resources and capabilities of K-POP are robust. It will take a significant amount of time and money to imitate for followers, because these resources and capabilities are the result of time investment and are embedded into producers' and performers' know-how. Taking Luo (2000)'s argument, K-POP is in the second stage of the globalization process, which is configuring and allocation resource capabilities to a global scope.

• Cartoon and Animation Studies
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• s.34
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• pp.129-165
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• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.