• Journal of Digital Convergence
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• v.15 no.9
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• pp.201-210
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• 2017

This study investigated the effect of K-POP characteristics on Korean consumers' liking, intention of listening and purchase intention of Korean products. For this purpose, K-POP characteristics were classified into musical characteristics and star characteristics. The results of the study are as follows. First, both musical characteristics and star characteristics of K-POP characteristics had a significant effect on favorability of Korean Wave content. Second, both musical characteristics and star characteristics of K-POP have a significant effect on K-POP listening intention. Third, both musical characteristics and star characteristics of K-POP characteristics had a significant effect on the purchase intention of Korean products through Korean Wave content. However, the relative influence of star characteristics is higher than K-POP characteristics. The results of this study will be useful data for promoting Korean pop among Chinese consumers.

• The Korean Journal of Archival Studies
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• no.60
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• pp.161-194
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• 2019

In modern society, popular music is becoming a reflection of public consciousness, and due to advances in technology, pop music culture is gradually spreading both quantitative and qualitatively as it provides access to popular music in a variety of different ways. K-pop has become more important to society as it reflects the social status of the day, showing the most active activities and influences at home and abroad. In this study, we revealed the definitions and characteristics of K-POP and K-POP fandom. Then, a survey was conducted on the fandom of BTS, A.R.M.Y, which can represent K-POP fandom. The survey looked at the general perception of K-pop fandom's archives, the current status of its collection and production records, the perception of popular music archives, and the donation and commission of their records. At the results, we proposed utilization plans of K-POP fandom records, for developing popular music archives.

• 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.

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.106-122
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• 2011

The ultimate purpose of the research is to solve the problem that fashion inspired by les Nouveau Pop Artic criticism and satirical factors is interpreted as concept of American Pop Art style, even though there is distinct difference between les Nouveau Pop Art style and American Pop Art style. We think that the reason causing the problem is that les Nouveau Pop Art is not familiar to the general public, even though it is getting attentions as trends treated by les Nouveau Pop Artists. Above all there is insufficient study to establish a theoretical system and a concrete concept on les Nouveau Pop Art. Therefore, this study is to set up the theoretical concept on les Nouveau Pop Art based on comparisons and analysis of the characteristics of works expressed les Nouveau Pop artists, and to draw the concept of les Nouveau Pop image fashion. The result of this study indicate that les Nouveau Pop Art Image Fashion is defined as "fashion design borrowing the concept and image from les Nouveau Pop Art and blending and consisting of the themes, characteristics and techniques from les Nouveau Pop Art.

• Korean Journal of Food Science and Technology
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• v.36 no.2
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• pp.262-267
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• 2004

Processed foods were developed using amaranth starch and flours. Amaranth seeds were untreated (UT), defatted (DF), germinated (GM), roasted (RT), popped (POP), and extruded (EX1 and EX2). Amaranth flours showed A-type pattern on X-ray diffractograms, while crystallinity was not observed in POP, EX1, and EX2. POP and EX1 showed highest (740.3%) and lowest (38.5%) water-binding capacities, respectively. Transmittances of RT, POP, EX1, and EX2 flour suspensions were higher than those of others. Transmittance of amaranth starch and flours differed with processing methods. RT, POP, EX1, and EX2 showed higher transmittance at $60^{\circ}C$. Initial pasting temperature of amaranth flours by RVA were $68.1-73.0^{\circ}C$, and peak viscosities of GM and RT were 31.6 and 401.1 RVU, respectively. Melting endotherms of POP, EX1, and EX2 were not observed in DSC thermograms.

• The Research Journal of the Costume Culture
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• v.23 no.5
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• pp.822-834
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• 2015

Contemporary fashion companies have been planning marketing strategies that can promote brands and products more effectively for satisfying consumers' increasingly diversified needs. For this reason, retail spaces have continued to evolve and the modern concept of pop-up stores appeared through this process. Therefore, the object of this study was to research domestic pop-up fashion store cases by collecting article data. These data are from Internet fashion-specialty sites and analyze the types and characteristics of pop-up fashion stores by providing basic information that will be useful in the pop-up fashion stores of companies when they establish their marketing strategies. This study utilized the content analysis method and derived the results by using SPSS Statistics. As a result of this study, the type of "pop-up fashion stores opening in distribution enterprises" comprised the highest percentage of the whole store types and the pop-up fashion stores' management purposes were focused on product introduction, promotion, and market testing. As time passed, not only did pop-up fashion stores' growth rate increased, but also the types of pop-up fashion stores have become more diverse. In other words, contemporary fashion companies are utilizing more pop-up fashion stores as a marketing strategy than before. However, due to the short history of domestic pop-up fashion stores, the variety of research is still insufficient, so more extensive research on pop-up fashion stores is required.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.345-352
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• 2024

K-Pop Square Media, located at COEX in Samseong-dong, has gained public attention and mass media focus by showcasing various three-dimensional videos on a large LED display. The video content on the distinctive large curved LED display utilizes a form of media façade technique, establishing itself as a new landmark and attraction within the spatial characteristics of the COEX Plaza. This study aims to examine the characteristics of media facades used in outdoor advertising in urban spaces, focusing on K-Pop Square Media. The approach for this research involves three aspects: Firstly, examining the 'spatial characteristics' of urban public spaces by referencing Kevin Lynch's five elements constituting urban space and William J. Mitchell's exploration of smart spaces and changes in spatial paradigms. Secondly, analyzing the 'digital nature' of outdoor advertising through an examination of three types of Digital Out-Of-Home (DOOH) Media. Thirdly, exploring the 'technological advancements and content composition of media facades' by investigating types of display media (projection, LED screens), the inception of media facades, and the latest display technology like Anamorphic displays. Through this research, it becomes evident that K-Pop Square Media exhibits characteristics of publicness, communicativeness, artistry, and placemaking through the spatial characteristics of smart spaces, the media-specific aspects of Digital Out-Of-Home advertising, and the content composition of media facades.

• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.1-13
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• 2020

In order to understand the recommendation algorithm applied to the online video platform, this study examines the relationship between the content characteristics of K-pop music videos and related videos recommended for playback on YouTube, and analyses which videos are recommended as related videos through network analysis. As a result, the more liked videos, the higher recommendation ranking and most of the videos belonging to the same channel or produced by the same agency were recommended as related videos. As a result of the network analysis of the related video, the network of K-pop music video is strongly formed, and the BTS music video is highly centralized in the network analysis of the related video. These results suggest that the network between K-pops is strong, so when you enter K-pop as a search query and watch videos, you can enjoy K-pop continuously. But when watching other genres of video, K-pop may not be recommended as a related video.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.137-157
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• 2008

The purpose of this study is to acquire clear understanding of classic Pop art, and furthermore, how it evolved within the art and fashion industries in relations until present days. Throughout the studies, it was inevitable to find that there needs to be additional traits to Richard Hamilton's famous quote regarding the definition; "Pop Art is: Popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business." Distinctively, though Pop art is continually evolving, sustaining, costly, authentic, and, adaptable for all ages. Pop art's varying influence continued, and Neo-pop, Japanese Neo-pop, les Nouveaux pop, Post-pop art appeared with progression. These transformed Pop arts share similar contexts with the Classic Pop art; and yet, it is inevitably more narrative, and has diversity in sources and expressions. If the Classic Pop art's been mostly flourished in the United States, new Pop arts are well established in various countries with individualities. Indeed, Pop art influenced the fashion world with attempted young and sexy looks with pastiche characters. In the 1960's, "Mods", "Teddy Boys", and "Hippie" styles became popular, and fashion trend started trickling up. Various usages of fabrics and uncommon materials were popularized due to the advanced technology and Pop art. Recently: 1) classic Pop art's been directly applied to fashion, 2) it's been reflected in more various motives and techniques 3) Neo-pop artists and designers wire involved with collaborative efforts. Undoubtedly, Pop art still remains popular for those who seek for fun; and so-called "Kidult" and "Peter-Pan syndrome" are closely correlated to the fundamentals of Pop art.

• Trans-
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• v.12
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• pp.173-222
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• 2022

This thesis examines the 'universe' acceptance phenomenon, currently used as a content strategy in the K-pop field, from the perspective of K-pop audiences, and then attempts to identify their experience of acceptance and the meaning of the universe. For this, tweets related to the universe acceptance experience of Aespa, the group utilizing the universe as a content strategy the most actively, were collected, and this data was analyzed according to a phenomenological approach, an approach to explore the structure of personal experience and the essence of a phenomenon. As a result of analyzing using Moustakas' method, the semantic structure of the universe acceptance phenomenon of K-pop audiences was derived based on 21 thematic units. It was found that current K-pop audiences are experiencing active cultural consumption rather than unilateral or passive through acceptance of the universe. This means that K-pop audiences have the characteristics of active audiences that produce meaning, interact with other fans, and exert influence on outside of community. At the same time, these characteristics affect acceptance of the universe. Simultaneously, through active acceptance experience, it is found that K-pop audiences give a new meaning in the K-pop universe, as "marketing assets", "fandom community assets", and "K-pop industry expansion assets." Among them, the recognition of 'marketing assets' was reaffirmed as a basis for supporting related previous studies. In addition, it derived the new values of the universe in the K-pop field by discovering the meaning of "fandom's specific assets" and "assets of the K-pop industry for expansion". These meanings had not been found that previous studies from the producers' point of view. And then, for the purpose of expanding the value of the universe in the future, it was discussed the direction of the new meaning of the universe. Finally, this study is meaningful in that it revealed the semantic structure of the universe acceptance phenomenon and discovered a new meaning of the universe in the K-pop field. Additionally, it was intended to contribute to expanding the field of research by suggesting various follow-up studies from various perspectives.