• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.119-131
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• 2015

The rise of K-Pop in the latecomer environment is unusual. There is little research on K-Pop from the catch-up perspective though it would yield some insight into a strategic direction of creative industries in the latecomer environment. Thus, this study aims to compare the firm capability, market development, and product strategy of K-Pop firms with ones of manufacturing firms during the catch-up period. It reveals first that K-Pop firms developed project execution capability to carry out discrete projects effectively by adopting in-house (vertical) system in music production and increasing the size of firms. Second, they pursued global market and utilized the window of opportunities based on a proven music genre. Third, K-Pop firms pursued the incremental innovation in the product development. Since these characteristics have many similarities with the catch-up strategy in the manufacturing sector, Korean catch-up experience could provide valuable insight into the development of creative industries in Korea.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.51-64
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• 2021

Among global K-pop fandoms Chinese fandom is a longtime and very strong consumer power in the K-pop industry due to its adjacent geographical location and low cultural barriers. Yet, there is a significant lack of research on Chinese K-pop fandom; most of what is available is from the producers' points of view. Research that explores the position and experience of Chinese fans, who are both mass audience and consumers, is slow to emerge. Thus, there is a need for systematic and careful study of Chinese K-pop fandom. In this research, we conducted a phenomenological study of the experience of Chinese fans of K-pop culture. We conducted participatory observation and in-depth interviews (including a FGI) with Chinese superintendents and active participants in Chinese K-pop fan clubs and fan pages. We then coded the data, following the theory of fandom developed by scholars such as Fiske (1992), and analyzed the phenomenon of Chinese K-pop fandom from the frame of the overall societal environment. We considered the psychological and behavioral characteristics of Chinese fans and the influences they receive from their turbulent social environments. We also considered the expectations of and opinions on the development of K-pop culture from their perspective. Based on our findings, the significant role and influence of independent fans and interdependent fandom in the development of K-pop culture and industry are identified. Finally, we emphasize that the role as facilitators of K-pop agencies is critical in the establishment of communication and trust between fans, K-pop artists, and the agencies.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.13-24
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• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.2
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• pp.65-75
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• 2013

As a typical subculture, Goth exercises influence on our culture in broad areas. Features of Gothic style, such as dark aesthetics, images of death and fear, and erotic horrification, emerged as attractive themes to contemporary fashion designs. Based on the dark attraction of black color, Goth fashion creates mysterious and fantastic atmosphere as well as grotesque and horrifying mood. 'Hallyu' or Korean wave is a term to describe the phenomenon of fervently loving Korean popular culture. As the fast spreading Hallyu is strongly engraved through the visually conspicuous fashion, we can say that fashion plays important role in diffusing Hallyu. In addition, a number of analyses and researches on the Hallyu, including K-pop, have been conducted, while concentrating keen interest in fashion of Hallyu K-pop stars. Accordingly, this study is designed to examine relations between fashion of K-pop stars and Goth fashion after analyzing features of Hallyu and K-pop and contemplating Goth fashion. Namely, this study will analyze various Goth images shown in K-pop fashion, which is the core of Hallyu, and identify aesthetic features of Goth shown in the fashion of K-pop stars. An investigation and analysis of the Goth images shown in the fashion of K-pop stars identifies the following features : a black aesthetic, eroticism, defiance, reversal of gender identity, and mystery.

• Korean Association of Arts Management
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• no.49
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• pp.87-115
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• 2019

The impact of "Korean wave" has gradually expanded in recent years, its spread trend can also be seen in the United States, South America, and even in Europe. As the earliest and largest importer of Korean culture, China's importance is self-evident. Based on the results of empirical analysis, and analyze the importance and satisfaction of each element that makes up the four factors(Music, Dance, Style, Story) with IPA method, as well as the impact of its rankings on K-POP fans phenomenon in China. The results of this study are organized as follows. Firstly, according to the analysis results, only 10.5% of the K-POP fans are male, and K-POP fans are generally young, their age mainly concentrates in the first half of the 20th (49.0%). Secondly, among the survey respondents, 65% of the fans have positive comments on the Korean Wave, most of K-POP fans obtain their idols' information through Internet, and 49.5% have consumption behaviors for their favorite idols. Thirdly, it can be seen from the data of survey results that fans attach the greatest attention to the importance and satisfaction of the melody elements in terms of music, and the performance effect in terms of dance, the appearance is chosen as the priority in terms of styling, as for the last factor, topicality, the broadcasting is the first choice. In view of the formation of the phenomenon of K-POP fans among Chinese Korean fans, by conducting the correlation analysis and research on the importance and satisfaction of each factor through data, this study is with great practical significance in academic research, it can be used as practical and meaningful material for the K-POP fans among Chinese Korean fans.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.267-280
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• 2019

The hybrid phenomenon of pronunciation of K-Pop lyrics, which is the diction fusion phenomenon of lyrics, is not a strategic measure for an overseas expansion but a natural formation in the course of history of K-Pop. With the debut of Seo Tai-ji and Boys in 1992, the course of K-Pop changed and settled from ballad to dance music. After three years, the success of a hip hop dance music, 'Come Back Home', opened up a door to Korean Americans who ascertained the potential competitiveness of a hip hop music in K-Pop market. And the writer insists that such advance of Korean Americans into K-Pop market is the origin of the bilingual usage and diction fusion phenomenon of K-Pop lyrics. Therefore, this research will look into the pronunciation system of Korean and English in order to understand the bilingual pronunciation system shown in the lyrics sung by Korean American hip hop singers in the 1990s. Moreover, through Korean pronunciation system, this analysis will discover the main cause of continual acceptance and application of Korean American's broken Korean in the diction of lyrics. Last but not least, this exploration will show the correlation of English pronunciation method of Korean lyrics appeared in K-Pop and the diction of Korean lyrics used by Korean American hip hop singers in late 90s. This research will identify the primary cause of the diction fusion phenomenon in the course of history of K-Pop.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.268-276
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• 2022

This study examined whether K-pop dance is qualified as an academic subject and how university students perceive K-pop dance as a liberal art subject. The survey was conducted with 138 students. Among the total of 138, 40 participants were male, and 53 participants were female. Fourteen(14) participants had experience with K-pop classes, and 124 participants did not have any experience with K-pop dance classes. According to the study, K-pop is a form of Korean culture that adds unique cultural and social characteristics to Koreans. It is in the cultural and art education category. In addition, K-pop dance is a socio-cultural phenomenon characterized by dance. However, K-pop dance is not qualified as an academic subject because it lacks theoretical foundations. The survey result also revealed that the students did not perceive that K-pop dance had personal, aesthetic, social, or educational value. They did not want to take a class if K-pop dance is offered as an academic subject in liberal art class. When analyzing the data by gender and experiences with dance classes, there was a difference based on gender in the two questions. In the case of females, they responded to having fun and joy from K-pop dance, while male respondents did not. Regarding the learners' interest in Kpop dance class, female respondents were more optimistic about the learner interest than male respondents. In conclusion, K-pop dance is a sociocultural phenomenon, and many informal online courses are created daily, spreading everywhere. However, the status of K-pop dance as an academic area is not set up yet.

• Korean journal of communication and information
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• v.65
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• pp.51-75
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• 2014

This study aims to examine how the usage of K-POP and Korean TV dramas influence Chinese attitude toward Korea and Hallyu as K-POP has gained its popularity all over the world. The result indicated that 'gender', 'duration of watching Korean TV drama, 'the evaluation of Korean TV dramas', 'duration of listening K-POP and 'evaluation of K-POP' are strong predictors influencing attitude toward Korea among Chinese people. On the other hand, in relation to Hallyu, demographic factors are not appeared as the predictors, however, duration of watching Korean TV dramas, 'the evaluation of Korea TV dramas' and 'evaluation of K-POP' have been shown to influence the attitude toward Hallyu in a positive way. As the practical implication this result suggests that content, either Drama or K-POP, has more importance to appeal global audience rather than famous star has. Furthermore, when variables such as watching Korea TV dramas and evaluation of Korea TV drama have been controlled, 'evaluation of K-POP' appeared as a strong predictor to influence attitude of Korea and Hallyu in a positive way. This result indicates that the main content of Hallyu in China has shifted from Korean Dram to K-POP as the New Hallyu has been coming.

• The Korean Journal of Archival Studies
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• no.60
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• pp.161-194
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• 2019

In modern society, popular music is becoming a reflection of public consciousness, and due to advances in technology, pop music culture is gradually spreading both quantitative and qualitatively as it provides access to popular music in a variety of different ways. K-pop has become more important to society as it reflects the social status of the day, showing the most active activities and influences at home and abroad. In this study, we revealed the definitions and characteristics of K-POP and K-POP fandom. Then, a survey was conducted on the fandom of BTS, A.R.M.Y, which can represent K-POP fandom. The survey looked at the general perception of K-pop fandom's archives, the current status of its collection and production records, the perception of popular music archives, and the donation and commission of their records. At the results, we proposed utilization plans of K-POP fandom records, for developing popular music archives.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.1-15
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• 2019

Psy's Gangnam style in 2012 showed K-pop's potential for global growth and BTS proved it by reaching three consecutive Billboard No.1. The success in the global music market brings tremendous economical and cultural power. This study is conducted for the continuous growth of K-pop music in the global music market by analyzing the musical factor of K-pop's global success. The top 20 most-viewed K-pop MV on Youtube is chosen as a research subject because Youtube is a worldwide platform that reflects global popularity. For the process of K-pop music creation, the role of the composer is expanded and many overseas producers participate in music creation. All 20 songs are created by the collective creation system and there is a consecutive collaboration between the main producers and certain artists. The top 20 most viewed K-pop songs have the musical characteristics of transnational genre convergence, hook songs, sophisticated sounds, frequent use of English lyrics, a reflection of the latest global trends, rhythm optimized for dance and clear concept. It makes the K-pop song easily remembered and familiar to overseas listeners. K-pop's healthy and fresh theme brings emotional empathy and reflects Korean sentiments. K-pop's global success is not a coincidence, but a result of continuous efforts to advance overseas. Some critics criticize K-pop's musical style is similar and it shows K-pop's limitation but K-pop progressed its musical evolution. By keeping the merits of K-pop's success factors and complementing its weak points, K-pop will continue its popularity and increase influence in the global music market.