• 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.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.312-324
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• 2017

This study examined how German newspapers and magazines report Korean mass culture, specifically what content on Hallyu (Korean wave) was present and what news frames were used. External characteristics, the content attributes, report trend, and news frames on Hallyu in the German media were analyzed. According to the results, German media from 2009 to 2014 reported the least about Korean wave with only a total of 78 articles. The greatest amount of articles occurred in 2012 when by PSY was a global success. The most common Korean wave articles focused on film and K-pop, but not drama. Hallyu news showed mostly a positive trend. Additionally, a thematic frame was used. Content revealed that a culturally interesting frame was most common. In order to improve the Korea image in Germany, it is proposed that 'the mediated Culture PR' be adapted to German media.

• Journal of Digital Convergence
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• v.14 no.2
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• pp.377-388
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• 2016

The purposes of this study are; first, to supply useful suggestions for the market segmentation of the Chinese market according to individual psychological variables(self-congruence) of customers. Second, it figures out the relative importance of actual self-congruence and ideal self-congruence. Lastly, it reveals whether there are any differences in the preference of attributes according to the popular cultural involvement. According to the results, actual self-congruence had a positive influence on the contents factor evaluation while ideal self-congruence had positive effect on the human and cultural factors evaluation. Also, the human and cultural factor had a positive influence on the purchase intention, as well as content factor and cultural factor had the influence on the word-of-mouth. In addition, the group of highly interested in the involvement at the popular culture was significantly higher in the evaluation on the human and contents factor than the low group.

• The Journal of the Korea Contents Association
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• v.8 no.6
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• pp.140-150
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• 2008

This study examines the economic ripple effect of Korean wave(Hallyu). Specifically, this study tries to investigate how the satisfaction of Korean popular music among Chinese college students affects the purchase intention for Korean culture products such as Korea tour, the Korean language, and Korean martial art(Taekwondo). These products are not directly related to the Korean popular music. Results show that the overall satisfaction of Korean popular music leads to the preference for Korean popular music, which in turn improves the liking of Korean wave(Hallyu), the liking of Korea, and the purchase intention for Korean culture products. It is also found that the liking of Korean wave(Hallyu) affects the purchase intention for Korean culture products, which is mediated by the liking of Korea. However, the positive relationship between the liking of Korea and the purchase intention for Korean culture products is shown marginally significant.

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.90-102
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• 2013

K-POP has become a part of killer contents attracting worldwide attention beyond Asia. The purpose of this study aims to identify some critical factors for recent success of K-POP. In order to do that, the influence of the change in media on the globalization of popular culture was explored and its required conditions were analyzed. And the international and domestic contents production cases were investigated and the possibility of expansion of Korean Wave through reproduction of diverse contents was discussed. The potential markets for further development of Korean Wave were also analyzed and gave some suggestions for building new businesses model and effective infrastructure of among producer of contents, platform subscriber, network provider, terminal enterprise and retailers.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.454-466
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• 2016

The Korean wave refers to the spread of Korean popular culture from China to all over the world. The Korean wave has been improving the national image and creating a new brand value for Korea as a symbolic soft power. Its spread has been operating as a kind of energy that is fueling national competition. The Korean wave creates a new type of tour and increases tourists' intention to visit special places revealed indirectly through mass media. People can vary highly in terms of awareness, attitude and behavioral pattern according to the degree of care for and interest in something. This is called involvement. Three hypotheses were established to study the effect of the Korean wave in terms of involvement. First of all, it confirms whether the Korean wave involvement affects national image and image as a tourist destination. Second, it confirms whether national image affects Korea's image as a tourist destination. Third, it confirms whether the Korean wave involvement affects intention to visit Korea. The certification results of these hypotheses confirm that the Korean wave affects national image, Korea's image as a tourist destination, and intention to visit Korea. The national image also partly affects its image as a tourist destination.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.125-137
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• 2012

In this paper we draw from recent theoretical discussions of fan culture and the new media technologies to explore how online communities contribute to new forms of K-pop fandom. We suggest that these online sites play an important role in setting the new stage of dissemination and dialogue of K-pop knowledge, through which particular forms and spaces of online fan culture are being created and sustained. Moreover, these web-based communities challenge the existing concepts that have embraced interrelations between culture, consumption and technology. Based on an empirical study of YouTube, carried out using netnographic methods, this study tackles the following questions: how fans construct themselves as Korean pop fans through the online activities; how they exchange information and opinions of Korean stars; and, what meaning they extract from online file-sharing activities.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.19-39
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• 2016

Hallyu in East Europe has been spread since the end of the 2000s and contributed to boost the familiarity and favorability of Korea. Hallyu in East Europe started from Romania and Hungary, Korean dramas and K-Pops spread to Bulgaria. Korea and Bulgaria established a diplomatic relations in 1990; however, people of both countries do not share enough information or knowledge on each other. This study aims to understand the meaning of Hallyu and the ways of building cultural relations through Hallyu based on the cognitions and attitudes toward Korea and Korean culture in Bulgaria. It conducted the Focus Group Discussions(FGD) for 24 Sofia residents in their 20s and 30s. The FGD questions were mainly on the level of familiarity and of impacts of Hallyu in Bulgaria. The Hallyu in Bulgaria is still not so popular although Hallyu has been promoted through the diverse activities of Korean Embassy, Sofia University, Korean language institutions, and the Hallyu fans. The economic and cultural impact of the Hallyu is not yet viable in Bulgaria. In order to be recognized as one of the foreign popular culture in Bulgaria, Hallyu should be promoted with various endeavors for Bulgarian people to experience Korean culture beyond Korean drama and K-Pops based on the understanding of socio-cultural characteristics of Bulgaria. Then, Hallyu will be spread by producing Korean dramas, films, and K-pops reflected by local cultural characteristics in Bulgaria and hybridity of Korean popular culture.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.548-559
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• 2019

K-pop has gone through ups and downs for 30 years since it was introduced to China in the 1990s. As the trigger for the 'Korean wave', K-pop has become a business card of Korean pop culture, which is another popular culture that has culminated in China after the 'Western wave', 'Japanese wave' and 'Hong Kong.Taiwan's wave'. Its wide range of influences and long time are rare in the world, so it can be regarded as a typical example of modern intercultural communication. The paper takes 1988-2018 as the time interval, combs the process of K-pop's intercultural communication in China. Based on this theory, it can make an objective evaluation on the current situation of K-pop in China. Then this paper discusses the influence of K-pop culture on the current Chinese university students through a questionnaire survey, and puts forward some developmental suggestions from the perspective of Chinese people. In order to provide a theoretical basis and enlightenment for the study of K-pop in China.