• Review of Culture and Economy
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• v.20 no.1
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• pp.129-161
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• 2017

Korea's entertainment industry laid its foundation in the early 2000s when global popularity of South Korean soap operas increased in Japan. K-pop has been recently leading the popularity in China. However, many Korean entertainment businesses are dying out. This study reviews factors influencing business survival for 42 chosen corporations listed in the Korea Stock Exchange based on organizational ecology. When all of the variables are analyzed at the same time, long period of public offering and high wages and global sales ratio positively affect business survival. When the individual variables are separately analyzed, long period of public offering and CEO incumbency and high wages and global sales ratio positively affect business survival. Meanwhile, size of businesses do not affect the survival. The results of this study imply that policies to help businesses list an entertainment corporation in the Korea Stock Exchange, increase sales and reciprocity with other culture are needed. Laws and institutions for evaluating intangible asset value should be improved. The results also suggest that a corporation should carefully consider change of CEO and make the best use of the popularity of Korean culture to increase global sales and pay competitive wages to attract professionals.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.286-308
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• 2021

For a long time, dramas that everyone has enjoyed at home have become the most popular cultural contents due to the development of digital technology and the influence of Hallyu.(Korean Wave) This study was conducted in-depth interviews and participatory observations on the background, role, identity, and labor experience of TV planning producers who appeared in the drama production process with the implementation of outsourcing production policy in 1991. The number of dramas produced increased sharply in the mid-2000s due to the Korean Wave. Against this backdrop, the planning producer has expanded their scope in the drama production process and emerged as a new drama producer. The planning producer plays a role in creating an environment in which writers and directors can be selected with the identity of "not a creator but a producer of dramas" and lead drama planning. OTT and watching TV on the Internet have made it possible to watch dramas without TV. As this phenomenon accelerates and becomes commonplace, fewer consumers adhere to the traditional way of watching dramas using TV, and consumers' emotional tastes become more demanding. In this environment, TV planning producers are leading the production of dramas, exerting as much influence as writers and directors. They are also building new power relationships among drama producers by securing planning and financial power.

• The Journal of Industrial Distribution & Business
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• v.13 no.6
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• pp.39-49
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• 2022

Purpose: As part of these efforts, in-depth research is needed on efficient and practical utilization of underground spaces and underground shopping malls. In addition, efforts are being made to find effective alternatives to various problems currently occurring in underground shopping malls, but it is not easy. In addition, the development entity and the maintenance entity are different from each other, and the management is not unified, making it difficult to maintain underground shopping malls. From this point of view, it can be said that it is time to actively and specifically discuss ways to revitalize underground shopping malls. Data and methodology: In the domestic distribution environment, traditional markets and shops are stagnating due to rapid changes in consumption patterns, such as the spread of large companies with advanced distribution techniques such as hypermarkets, shopping malls, and SCM, the rapid increase in Internet and home shopping, and the importance of convenience for young consumers. In order to revitalize underground shopping malls, it is necessary to strengthen the organization and self-rescue efforts of merchants' associations, change consciousness through merchant education, change to specialized markets, find nuclear stores and representative restaurants, and support the hardware sector. Results: The connection of underground shopping malls in each region of the country, where commercial districts are separated from each other, will also play an important role in reviving the function of the city in the future. To do this, it is first necessary to connect underground shopping malls that have been cut off. In other words, connection between connectable underground shopping malls should be promoted. Of course, long-term projects should be promoted step by step, and many consultations should be made on how to connect with the ground for each local government. Conclusion: This is because in the future, the underground space cannot just be a walking place, but another space of the Korean Wave where you can experience satisfying the five senses. K-shopping Hallyu content can be created by creating a characteristic story for each underground shopping mall in the city, permanently this story-oriented event, and creating a safe and elegant environment. If there is a story, so-called "Senomi Shopping" will be possible. A new Korean Wave will be created that can satisfy "the fun of writing, the fun of seeing, and the fun of feeling" at the same time.

• 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.

• Korean Association of Arts Management
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• no.57
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• pp.59-84
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• 2021

This study examined the structure of YouTube video network and the factors for the diffusion of Chinese creator's videos through the case of famous Chinese creator Fengtimo. There is few interest to the diffusion of Chinese contents among Korean researchers, while they have been studied the consumption of Hallyu(Korean wave) contents overseas. Using the data that YouTube Data API offers, this study analysed the video network that the comments of which are same users with NodeXL tools and the regression model with JASP tools. The study found that there are three groups of the YouTube channels of that network. They are domestic official accounts of Fengtimo, foreign officail accounts of Fengtimo and individual creators' accounts. The official accounts share the videos of Fengtimo's songs and entertainment contents for the fans, where the individual creators share their own meme videos(UGC). The significant factors for the diffusion in the YouTube video network are comments, likes, out-degree, dislikes, in-degree and betweenness centrality. There are significant difference between official channel and indivisual groups on the views. And degree and betweenness centrality have mediating effect. It is necessary to conduct more research on that subject with many other cases if we want to get to know the generalized explanation.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.1-18
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• 2021

Idol music, which began to gain huge popularity in the domestic music market in the mid-1990s, has become one of the major global contents thanks to the global popularity of K-POP. As a result, the Korean music market continues to grow, forming the world's sixth-largest music market, and domestic music agencies are focusing more on fostering idol groups and producing idol music. The global success of idol music is surprising, but this has resulted in the domestic music market being biased toward idol music. As a result of the study, it was confirmed that there are several problems with the phenomenon of being biased toward similar types of musicians and music content. First, just as trend-oriented cultural contents face the problem of life expectancy all the time, the "Korean Wave" is also forced to think in terms of identity and sustainability. Second, it was observed that only consumers of a certain age may cause cultural alienation of other age groups, and thirdly, various problems such as shrinking creative paths due to the size of the cost required for idol group production and the lifespan of idol musicians' art activities. This paper derives the reality of the domestic idol bias phenomenon through comparative analysis of the English-American music market and the domestic music market, which have had a profound influence on the global music market in popular music history, and verified the theory and results through an expert survey using the Likert scale. In addition, the problems caused by the idol bias phenomenon were considered based on the theory of cultural diversity, and improvement directions were also suggested to solve this problem.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.261-268
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• 2022

No language can be separated from other languages and exist independently. When a language comes in contact with a foreign culture, they continuously affect each other and bring changes. Hallyu boom(Korean wave), which was derived from the emergence of K-drama and K-pop due to rapid developments in global scientific technologies and digitization after the 90's, affected the Chinese language. As a result, neologisms that are derived from the Korean language are being commonly used for making exchanges and becoming social buzzwords. Neologisms derived from Korean reflect the effects and results of language contact between the two languages. We examined the background and cause of Chinese neologisms derived from Korean based on the sociocultural factors and psychological necessity, and explained neologisms by using four categories of transliteration, liberal translation, borrowing Korean-Chinese characters and others. Despite having the issue of being anti-normative during the process of coining new words, neologism enriches Chinese expressions and is a mirror for social culture that reflects the opinions and understandings of young Chinese people who pursue novelty, change, innovation and creativity in linguistic aspects. We hope that it will serve as an opportunity for the young people in Korea and China to change their perceptions and become more friendly by understanding each other's language, culture and by communicating. We also expect to provide assistance in regard to teaching and learning the applications of Korean-Chinese language fusion at Chinese education fields.

• Journal of Korean Home Economics Education Association
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• v.33 no.4
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• pp.1-13
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• 2021

The purpose of this study is to identify trends and potential themes of research on consumption of children and adolescents for 20 years by analyzing keywords. The keywords of 869 studies on consumption of children and adolescents published in journals listed in Korean Citation Index were analyzed using text mining techniques. The most frequent keywords were found in the order of youth, youth consumers, consumer education, conspicuous consumption, consumption behavior, and character. As a result of analyzing the frequency of keywords by dividing into five-year periods, it was confirmed that the frequency of consumer education was significantly higher betwn 2006 and 2010. Research on ethical consumption has been active since 2011, and research has been conducted on various topics instead of without a prominent keyword during the most recent 5-year period. Looking at the keywords based on the TF-IDF, the keywords related to the environment and the Internet were the main keywords between 2001 and 2005. From 2006 to 2010, the TF-IDF values of media use, advertisement education, and Internet items were high. From 2011 to 2015, fair trade, green growth, green consumption, North Korean defector youths, social media, and from 2016 to 2020, text mining, sustainable development education, maker education, and the 2015 revised curriculum appeared as important themes. As a result of topic modeling, eight topics were derived: consumer education, mass media/peer culture, rational consumption, Hallyu/cultural industry, consumer competency, economic education, teaching and learning method, and eco-friendly/ethical consumption. As a result of network analysis, it was found that conspicuous consumption and consumer education are important topics in consumption research of children and adolescents.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.13-25
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• 2019

Since reaching the top in the Billboard Main Album Chart 'Billboard 200' with Love Yourself: Tear in May of 2018, BTS once again took first place after just three months in the 'Billboard 200'(September 3, 2018) with the repackaged album Love Yourself: Answer. It opened the doors to the 'Hallyu 4.0' by conquering the main Billboard Chart with a song sung in Korean. BTS rose to the top on the 'Billboard 200' twice, thus being recognized globally for their musical talent(song, dance, promotion, etc.), and took their place in the mainstream music market of the world. BTS moved away from intuitive interaction such as mysticism, abnormality, irregularity, etc. but instead created their own world(BTS Universe) with fans around the world through two-directional communication such as consensus, sharing and co-existence. They are recognized as artists that went beyond being an idol group that simply released a few hit songs that had now elevated popular music to a new form of art. In result, they retained a highly loyal global fan base(A.R.M.Y.) and they are continuously creating good influence with them. This study analyzed the success factors of BTS using the S-M-C-R-E model as follows. ① Sender: BTS'7-person 7-colors fantasy and 'All-in-one storytelling' strategy of producer Bang Shi-hyuk ② Message: Create global consensus of 'you' rather than 'me' ③ Channel: Created real-time common grounds with global fans through social network platforms such as Youtube, Facebook and Instagram ④ Receiver: Formed highly loyal global fandom(A.R.M.Y.) that extends outside of Korea and Asia ⑤ Effect: Created additional economic value and spread good influence

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.53-62
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• 2019

In recent years, South Korean has made a globally acknowledged achievement in movie industry. In terms of Art, films produced in South Korea obtained lots of awards in international movie festivals; in the business field, Korean movies are swiftly occupying the Asian or even the world film market. Extraordinary films with good reputations and high box office records are frequently launched and induced to a trend, which then forms into a cultural phenomenon and attributes to an important, major force in the so-called "Hallyu" culture. This, in part, benefits from the massive support of Korean government's cultural policies, and is also a product of the high degree of cultural consciousness of Korean movie producers. The Korean cultures, customs, and the underlying cultural elements of the East, that are presented in these movies, satisfy the audience and appeal their fondness. The Princess and the Matchmaker is a South Korean period romantic comedy film directed by Hong Chang-pyo and starred Shim Eun-kyung and Lee Seung-gi. The movie was presented on Feb 28th, 2018. It tells a story of Seo Do-yoon, the most proficient saju (fortune-teller) expert of the Joseon Era who selected a husband for Princess Song-Hwa based on her "fortune eight letters" (specifically, the time, day, month and year of her and her husbands' birth, normally in eight letters), in a hope of alleviating the rage of people following years of drought, and thus to resolve a national crisis. This paper takes The Princess and the Matchmaker as an example, from the aspects of cultural state, system, behavior and mentality, to analyze the traditional customs such as "fortune eight letters", "marriage by match" and the cultural concepts behind these phenomena, in order to explore the ways and methods of traditional culture in the modern cultural and artistic form of film.