• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• International Journal of Internet, Broadcasting and Communication
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• v.13 no.4
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• pp.72-78
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• 2021

Currently, the Korean wave is not limited to popular culture, but has a significant impact not only on Korea's national image but also on the improvement of Korean companies' products and image of Korea. In this study, using Textom to confirm the change in foreign tourists' image of Korea, the data collection period was 1 year of 2020, when COVID 19 occurred, as a collection period for "Korea and foreigner" and related key words, each Hallyu content, and ranked in the top 80 keywords were derived. Centrality analysis for semantic network visualization was performed using UCINET6, and through CONCOR analysis, 7 groups 'K-Quarantine ', 'K-Drama', 'K-Movie', 'K-Beauty', 'K-Shopping', It was clustered into 'K-Tech' and 'K-Pop'. As a result of the analysis, the image of Korea abroad generally recognized the Korean Wave as cultural content, but after the outbreak of COVID 19, it is judged that it has been recognized as a country with a successful case of K-Quarantine.

• Journal of Korea Society of Industrial Information Systems
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• v.17 no.7
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• pp.127-138
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• 2012

Unlike the first generation of Korean Wave (Hallyu 1.0), which mainly refers to the exports of Korean TV dramas via broadcasting systems, the New Korean Wave (Hallyu 2.0) era has been brought by K-pop (Korean popular music) via the rapid growth of social media. The purpose of this study is to understand the impact of this significant shift in media on global fans and their way of adopting Korean cultural goods from a social capital perspective, in order to draw some implications for the current Korean content industries. Most global fans of K-pop are young and use social media to access digital content and share their opinions spontaneously. SNS providers such as YouTube and Facebook not only act as information providers to usher the fans to online music retailers; but also function as links between these fans and cultural producers by turning bonding social capital into bridging social capital. Telecommunication and advertising companies participate in this market as a third party by providing funds for supporting digital circulation and distribution. In this multi-sided market with the interdependent agents, it is extremely important to secure a platform that leads the evolution of its business ecology. Without owning the platform, there is also a very little chance to produce linking social capital as a means to maximize the impact of New Korean Wave.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.97-102
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• 2020

In this paper, the concept of the diversified cultural tourism industry in Korea and China was summarized and the research direction was suggested. Also, the characteristics and status of the cultural tourism industry were analyzed. As a characteristic of the cultural tourism industry in both Korea and China, it exhibited similar cultural tourism forms such as performances, theme parks, festivals, and museums. Korea had a unique cultural tourism form called Hallyu cultural tourism, and China is also a rare cultural arts complex in Korea. And has developed cultural tourism. The strength of the Korean culture and tourism industry is that it is rich in cultural resources and possesses many assets with cultural contents, and the strength of the Chinese culture and tourism industry is that it has abundant tourism resources and huge economic power. As such, Korea and China with many similarities were found to be a country with high interest and potential in the cultural tourism industry, which is growing into a high value-added industry in the future. In addition, in order to continuously and stably develop the cultural tourism industry, continuous efforts and interests and proper research must be conducted so that the two countries can coexist with each other.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.6
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• pp.1004-1022
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• 2022

This study seeks to investigate K-fashion's external image by examining the trends in global media reporting. It applies Dynamic Topic Modeling (DTM), which captures the evolution of topics in a sequentially organized corpus of documents, and consists of text preprocessing, the determination of the number of topics, and a timeseries analysis of the probability distribution of words within topics. The data set comprised 551 online media articles on 'Korean fashion' or 'K-fashion' published on Google News between 2010 and 2021. The analysis identifies seven topics: 'brand look and style,' 'lifestyle,' 'traditional style,' 'Seoul Fashion Week (SFW) event,' 'model size,' 'K-pop,' and 'fashion market,' as well as annual topic proportion trends. It also explores annual word changes within the topic and indicates increasing and decreasing word patterns. In most topics, the probability distribution of the word 'brand' is confirmed to be on the increase, while 'digital,' 'platform,' and 'virtual' have been newly created in the 'SFW event' topic. Moreover, this study confirms the transition of each K-fashion topic over the past 12 years, along with various factors related to Hallyu content, traditional culture, government support, and digital technology innovation.

• 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.