• Archives of design research
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• no.18
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• pp.189-197
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• 1996

Many researchers and advertisers have approached point of purchase advertising in various ways. Visual analysis. an overemphasis of design concept. or simple classification have usually dominated these reports. However. for point of purchase advertising to be considered a part of marketing strategy. its effectiveness can be more clearely analyzed. What is the most appropriate situation to effectively use point of purchase advertising\ulcorner Which category of product is most sensitive to point of purchase advertising\ulcorner Moreover, what is the relationship between point of purchase advertising and impulsive buying\ulcorner These questions will hopefully be addressed in this paper. First of all. before tackling these issues, former research on point of purchase advertising need to be classified. Also we will show how modern technology has been affected point of purchase advertising. Section6 will discuss the relationship between impulsive buying and point of purchase advertising. Finally, successful examples of point of purchase advertising in the U.S. will be introduced to support the conc] usion.

• 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.

• IE interfaces
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• v.12 no.4
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• pp.567-574
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• 1999

The use of POP(Point of Production) systems which help to report the realtime production information to the supervisor class and to send commands to the shop floor is increasing gradually. Future companies will need to break the limit of regions and to exchange information among remote-sited departments and companies located abroad. In order to achieve this goal, Internet which is growing remarkably nowadays will be the best tool. In this research, a prototype of the POP system based on Internet is developed using the Java language. The developed POP system can monitor production status by collecting information from shop floor through a web server and can control production equipments from remote sites.

• IE interfaces
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• v.7 no.3
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• pp.69-76
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• 1994

In this paper, we develop a real-time manufacturing control and information management(POP) system that can support realization of CIM and information network of manufacturing system. The POP system systematically collect informal data that is originated from working area and make an offer collected information to planning side. Especially, this study designs a modular POP terminal that directly extract and process momentary information from field source and provide it to control system on real-time. In addition, we apply developed POP system with open architecture to flexibly and optimally operate the manufacturing system based on CIM.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.246-259
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• 2023

This study explores the evolving landscape of consumer experiences in the context of pop-up stores, considering the shifts from product economy to service economy and now the experience economy. It investigates the factors influencing consumer word-of-mouth intentions by examining the interplay of pop-up store experiences, brand equity, brand charisma, and verbal intent. Using Schmitt's strategic experience modules and the Aaker brand equity model, the study employs quantitative methods and data analysis to uncover the relationships among these variables. Surprisingly, it finds limited associations between the aspects of the pop-up store experience and brand equity. However, it highlights the direct impact of brand equity on brand charisma, which subsequently influences consumers' intentions to share brand-related information. This research contributes to our understanding of word-of-mouth marketing for pop-up stores, filling a knowledge gap and offering valuable insights for academics and businesses navigating the evolving marketing landscape. It also emphasizes the significance of brand charisma in the context of transient in-store experiences and evolving consumer preferences.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.191-200
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• 2020

Companies are seeking to maximize profits through exports and imports in the ultra-fast, ultra-high-speed modern society. It is only possible to sustain its survival if it targets the global market, not based on any specific region. The K-POP group is also targeting overseas markets in a manner similar to the various global strategies used when companies make inroads into foreign markets, including exports, contracts and direct investment. The K-POP group is engaged in various forms of activities, ranging from simple forms of performance (export) that are visited and staged by an invitation from a certain foreign country to series performances (license) by an invitation from a local promoter and tour performances using its capabilities. The K-POP group is seeking to go beyond the art of single-stage performances and make a systematic plan and make inroads into foreign countries in the form of direct investment suitable for each foreign country. The K-POP group made inroads into overseas markets in the form of simple performances from the late 1990s to 2005, when 'Korean Wave' was first introduced. Group H.O.T., etc. are typical examples. Since then, it has sought to enter overseas markets in the form of franchises by accepting overseas members by 2018, starting with Super Junior in 2005. Since then, the K-POP group in the form of joint investment attempted as group IZ*ONE in 2018 appeared, and a voice story came out in September 2018 when South Korea's JYP Entertainment and Tencent of China joined forces. Unlike K-POP Group, which has entered foreign markets with a global strategy based on the existing export method (H.O.T.), 'Boystory' is a representative group that is made with joint investment, which is a direct investment method. In February 2020, RBW released 'D1Verse,' a five-member group selected by Vietnam's reality show, as a joint investment-type group. This shows the possibility that domestic and foreign companies will release a group in the form of joint investment in order to pursue both globalization and localization.

• 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.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.581-594
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• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

• Journal of the Korean Society for information Management
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• v.38 no.3
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• pp.215-238
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• 2021

Hallyu pop-culture contents which has influenced the world has sufficient preservation value as a cultural asset. However, there is still a lack of awareness of long-term preservation of Hallyu pop-culture contents and digital archiving is not in full swing, too. We requires accurate understanding of the concept, characteristics, format, media, and relationship of contents for digital archiving of Hallyu pop-culture content. Thus, this study analyzed and organized the concept, characteristics, and preservation subject of Hallyu pop-culture contents, as basic study for digital archiving of Hallyu pop-culture contents. In addition, we investigated the current status of digital archives (systems/institutions) of Hallyu pop-culture contents and Hallyu pop-culture contents, and presented basic proposal based on the problem factors.

• Korean Journal of Applied Biomechanics
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• v.26 no.4
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• pp.377-382
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• 2016

Objective: The purpose of this study was to provide data on gait characteristics of K-pop professional dancers. Method: Participants were divided into four groups: male dancers (n=10, age: $28.2{\pm}3.4years$, height: $175{\pm}6cm$, weight: $68.9{\pm}5.6kg$), female dancers (n=10, age: $26.7{\pm}3.1years$, height: $162{\pm}4cm$, weight: $52.1{\pm}3.7kg$), non-dancer males (n=10, age: $25.2{\pm}2.6years$, height: $171{\pm}6cm$, weight: $66.4{\pm}5.3kg$), or non-dancer females (n=10, age: $26.2{\pm}3.0years$, height: $161{\pm}5cm$, weight: $56.4{\pm}6.7kg$). Twelve infrared cameras (Qualisys, Oqus 500, Sweden, 150 Hz.) were used to capture three-dimensional motion data. Gait motion data of professional dancers and ordinary persons were obtained. Results: K-pop dancers' dynamic stability during the female toe off event and the male heel contact event was better compared with that of ordinary persons in the front-rear direction. In addition, the results showed a significant difference in the margin of stability (MoS). However, the medial-lateral direction of both female and male dancers during heel contact and the toe off event was more stable compared with ordinary person, who exhibited an increased MoS than did the dancers. Conclusion: This study aimed to investigate the gait characteristics of K-pop professional dancers in comparison with ordinary persons using gait parameters and MoS. The stability of K-pop professional dancers' dynamic gait in the front-rear direction was better than that in the medial-lateral direction. Therefore, further studies in which the dance movements of K-pop dancers are sub-divided and analyzed will be necessary to reduce related injury.