• Asia Marketing Journal
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• v.17 no.4
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• pp.63-88
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• 2016

K-Pop is hugely promoted offline/online in East Asia, while efforts to promote it elsewhere are kept to a minimum. Whilst addressing the role of digital marketing in the promotion of K-Pop in the Brazilian music industry this study aims to demonstrate that K-pop will provide its audience with a unique and engaging experience if it thinks globally and acts locally in its marketing and communication strategies. A survey of K-Pop's world fan base was carried out online with 1,074 fans to determine the validity of the hypothesis. The results have demonstrated the need to adapt global and intercultural strategies to local markets with increasing brand awareness through utilizing digital marketing. For example, to increase K-Pop's popularity and market share in Brazil, it is not required to sing in Brazilian Portuguese, contrary to what might be perceived but fully singing in English would help breaking into the market dominated by domestic music as songs would have a higher probability to be included in the international soundtrack of a Brazilian telenovela and promote the K-Pop artist not only across Brazil but also give the artist exposure in all the markets the Brazilian telenovela is exported to, opening an entry door to those markets. K-Pop audience segmentation and psychographic profiling is crucial to the understanding of each market's consumer's preferences, likes, dislikes and their buying habits as it was proven through Brazil's digital media, social media, digital music market and K-Pop market analysis within the global context of the study. It should be also considered that brand extensions are not standard everywhere and that there are cultures where different product categories are not directly associated with its main corporate owner which requires extensive local market knowledge to succeed. The primary and secondary data research that we conducted for this study intended to demonstrate that K-Pop can be successful in Brazil and in Latin America and increase their local and regional market share if digital marketing and communication strategies are tailored to each individual market.

• Journal of Korea Society of Industrial Information Systems
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• v.20 no.1
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• pp.79-90
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• 2015

This study investigated the effects of 'K-POP' preference on purchase intention of Korean products. Especially, it revealed the mediating role between the participation intention of Korean culture event and the purchase intention of Korean products. Further, we examined the difference in the path relation according to the use-behavior of Korean wave contents. In this proposed model, we can see 'K-POP' preference had a positive effect on participation intention of Korean culture event, but it was not significant for purchase intention of common products. The participation in Korean culture event had significant effects on the purchase intention of Korean culture products and the purchase intention of common products. However, the purchase intention of Korean culture products had no significant effects on the purchase intention of common products. Thus, our finding showed that higher preference of 'K-POP' did not make cause purchase intention of common products. Further, the higher the preference of 'K-POP' was, the higher the participation intension of Korean culture event was and, as a result, the purchase intention of common products got higher. In addition, path analysis results according to the media usage behaviors show that Chinese consumer who uses the internet and has a higher preference of 'K-POP' had a positive effect on the purchase intention of common products. Furthermore, it has a positive effect on both purchase intension of Korean culture products and purchase intension of common products. In case of Chinese consumer who use the television, radio and newspapers, K-POP preference had no significant effect on the purchase intension of common products.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.412-425
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• 2017

The success of K-Pop music industry continues as there is a new light shedding on the new Korean wave. There is a continuous discussion about the sustainability of the idol's dance music because of its limit in the uniform genre. As a solution to improve the quality of K-pop music, researchers said to supplement it through the change of educational system in the applied music. However, research into how much the education of applied music is contributing to the continuous success of the K-Pop music industry and how each industry is affecting each other was inadequate. Therefore, this study will understand the association between the K-Pop and the applied music, and look into ways that can act as a mutual supplementation for both fields. Subjects of analysis included performing artists, composers, arrangers, lyricists, and singers for songs within the top 100 of the digital total ranking for the past three years in the Gaon chart which is the official music chart for Korea. Then, the study apprehended how many of those subject had relations with the applied music and their activity frequency. As a result, there were a considerable number of K-Pop performers, at 41.74%, who also majored in the applied music. To continue to tendency of Korean wave and develop the Korean popular music, this study will explore roles each industry should cooperate in the future. There were the formation of social atmosphere for increase of consumer's needs to diverse K-pop music and change of education for training its human resources that K-pop industry demand.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.688-701
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• 2014

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.543-560
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• 2017

The aim of this paper is to find which types of pop-up store positively influence consumers and to analyze the factors that affect brand attitude and behavioral intention across different fashion pop-up store formats. The data was collected from 217 respondents in their 20s and 30s and then subjected to descriptive statistical analysis, oneway ANOVA and regression analysis using SPSS Statistics. The results of the oneway ANOVA test indicated that the 'Pop-up store of alliance with different kinds of industries' is the most effective type for increasing brand preference and brand recognition amongst consumers. Some further insights can be made from the regression analysis results. There are differences between pop-up store formats in terms of the cognitive factors influencing brand attitude and behavioral intention. Moreover, there are differences between pop-up store formats in terms of brand attitude factors influencing behavioral intention. Through the results of this study, fashion companies can determine the best type of pop-up store to open depending on their aims. In conclusion, this study provides valuable insights to fashion marketers, helping them to determine the appropriate factors to consider when planning fashion pop-up stores. Academically, this paper contributes to expanding the range of research on fashion pop-up retail by studying consumer experiences of different pop-up store types.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.5
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• pp.570-581
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• 2004

The purpose of this study is to analyze the acceptance and interpretation of pop musician's image in the Korean youth subculture, Fan Costume play(Fancos). Fancos subculture took the most active attitude to accepts of the pop musician's image and therefore was assumed to have various and differential acceptance aspects. The ethnographic method was used in order to approach more closely from their point of view. The cultural activity of Fancos subculture was imitation and reappearance of pop musician's appearance. Actually Fancos is a kind of fan-culture which idolized Korean pop music star. The acceptance of musician's appearance in Fancos is found out in two aspects. One is passive acceptance aspects that inforces conformity of star fashion and follows servilely ideal body image which promoted by cultural industry. The other is unique acceptance aspects that Fancos members interpret the musician's image in their own way. Those members experience pleasure through their own meaning. And homology of their appearance makes a distinction between of themselves from other youth and intensifies their group identity. As above analyzed, Fancos subculture has differential acceptance of pop music star's image comparing to other youth and even their stylistic appearance reflects not only their fandom but also their own meaning. Consequently, pop musician's image as a popular cultural text is accepted not equal to all populace but dissimilar along with contexts and trails of the acceptance group.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.253-258
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• 2021

This study aims to expose the potential dangers of K-pop through the past and present of K-pop choreography copyrights and to suggest the need to secure digital choreography copyrights for the sustainability of K-pop considering national responsibility. As the content industry quickly sought countermeasures to digital transformation, such as the launch of K-pop platforms and the evolution of OMO (Online Merges with Offline) media commerce in response to changes in the industrial environment due to COVID-19, the annual export of the domestic content industry increased by 6.3% compared to the previous year. Accordingly, our copyright does not require that works be fixed in tangibles, as in Japan and Germany, on the basis of entrusting each country's legislation to determine whether to require fixation on choreographed works. On the other hand, the United States, France and the United Kingdom are demanding that it be fixed. Although choreography is at the center of K-pop and the value and influence of K-pop videos including cover dance through new media are discussed from various perspectives, copyright on choreography that needs to be resolved in business platforms for K-pop scalability The fact that there is such a big difference in problem perception is an area where we must not lose our vigilance. As the development of today's technology, the method of fixing a choreography looks very easy as an image, but at the same time can be stolen very quickly. Therefore, compared to overseas cases, it is urgent to improve the difference in perception of copyright registration for K-pop choreography and to supplement the system include the NFT.

• Journal of the Korean Chemical Society
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• v.37 no.4
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• pp.378-389
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• 1993

The release of steroids such as progesterone, testosterone, estrone and estradiol were investigated in two types of block copolymer matrices, which were AB type block copolymer composed of poly(γ-benzyl-L-glutamate)[PBLG] as the A segment and polyoxypropylene[POP] as the B segment and ABA type triblock copolymer composed of the A segment and poly(propylene glycol)[PPG] as the B segment. The release rates of progesterone, estradiol and testosterone through PBLG-POP1 and PBLG-POP2 matrices and those of progesterone, estrone and testosterone through GPG1 of ABA type triblock copolymer were higher in an acidic solution than in a basic one. However, the release rate of estrone through PBLG-POP1 and PBLG-POP2 matrices and that of estradiol through GPG1 of ABA type triblock copolymer were higher in a basic and neutral solutions than in an acidic one. The order of release rate in three different matrices was GPG1 > PBLG-POP1 > PBLG-POP2. The results also showed that the molecular weight of steroids is inversely proportional to the rate of release.

• Journal of Wellbeing Management and Applied Psychology
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• v.7 no.2
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• pp.31-37
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• 2024

Purpose: Pop-up stores have emerged in the retail industry in recent years, offering consumers a new shopping experience for a limited time and location, and are used for a variety of purposes, including driving purchase behavior. In particular, they have become an important marketing tool among Gen MZ consumers who are quick to acquire information and sensitive to trends. Therefore, this study aims to analyze the impact of pop-up store characteristics on the purchasing behavior of MZ consumers. Research design, data and methodology: Based on a qualitative research approach, the study analyzed successful pop-up stores in Korea to closely examine how the limited operating period and experience-oriented marketing strategy of pop-up stores affect the perceptual attitudes and purchase decision process of Generation MZ. Results: The results of the case study revealed that selling limited edition items, maximizing customer experience factors, and differentiated concepts are the main factors that positively influence the purchase behavior of Gen MZ consumers. These factors contribute to the enhanced purchasing behavior of Gen MZ, making pop-up stores an effective marketing strategy. Conclusions: Pop-up stores are more than just a sales space, but an important communication channel that can strengthen the emotional connection with Gen MZ and effectively communicate brand values. This study provides useful insights for brands and companies to develop marketing strategies for MZ.