• Journal of Korea Society of Industrial Information Systems
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• v.20 no.1
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• pp.79-90
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• 2015

This study investigated the effects of 'K-POP' preference on purchase intention of Korean products. Especially, it revealed the mediating role between the participation intention of Korean culture event and the purchase intention of Korean products. Further, we examined the difference in the path relation according to the use-behavior of Korean wave contents. In this proposed model, we can see 'K-POP' preference had a positive effect on participation intention of Korean culture event, but it was not significant for purchase intention of common products. The participation in Korean culture event had significant effects on the purchase intention of Korean culture products and the purchase intention of common products. However, the purchase intention of Korean culture products had no significant effects on the purchase intention of common products. Thus, our finding showed that higher preference of 'K-POP' did not make cause purchase intention of common products. Further, the higher the preference of 'K-POP' was, the higher the participation intension of Korean culture event was and, as a result, the purchase intention of common products got higher. In addition, path analysis results according to the media usage behaviors show that Chinese consumer who uses the internet and has a higher preference of 'K-POP' had a positive effect on the purchase intention of common products. Furthermore, it has a positive effect on both purchase intension of Korean culture products and purchase intension of common products. In case of Chinese consumer who use the television, radio and newspapers, K-POP preference had no significant effect on the purchase intension of common products.

• Journal of the Korea Convergence Society
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• v.12 no.5
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• pp.267-274
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• 2021

This study was designed to investigate the variables affecting Chinese university students' selection factors for Korean drama. Participants in this study were 379 university students from Hunan Province, China. An online survey program(www.wjx.cn) was used to collect data for this study. The tool of this study was 'a tool for measuring the selection factors of Korean Dramas', and it was composed of two areas: completeness of work and recognition. The results of this study are as follows: First, the completeness of work factor are higher than the recognition of Korean dramas by Chinese university students. Second, there are differences in the factors for selection Korean dramas according to the gender, grade, age, major, and Korean Drama watching frequency of Chinese university students. Third, when Chinese university students select Korean Dramas, their preferred genre influences the selection factors for the level of work completion and recognition. Finally, it was discussed according to the results of this study, and suggested for the qualitative re-leap of Korean Dramas in the global era. In order to expand the Korean Wave market in China, cultural contents must be developed to embrace the sentiment of Chinese university students, a propagation strategy that reflects the latest consumption trends of Chinese youth must be established, and the sophisticated visual beauty of Korean Dramas must be realized.

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.145-158
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• 2017

This paper aims to analyze the characteristics of the contemporary Chinese fashion market and the competitiveness of Korean fashion brands in China. Fashion professionals experienced in both the Korean and Chinese fashion markets participated to investigate the Shanghai market and consumers. The results of in-depth interviews show that Shanghai is the most favorable city among Tier 1 cities for Korean fashion brands planning on entering into the Chinese market. Shanghai consumers are open to international brands and highly prefer newness in fashion. Contemporary menswear was selected as a potentially big market due to the increase of unique, young, upper-middle-class male consumers. The Korean fashion brands' strength is that they are capable of satisfying Shanghai consumers with excellent product planning and sensory design capabilities. Their disadvantage is that their brand recognition is weaker than that of global and international brands, and their ability to localize to the Chinese market is weak. The opportunity comes is from the Korean Wave, which is a positive for Korea's products and has good geographical access. The threat is that the Shanghai market is fiercely competitive; having access to many worldwide brands, and the competitiveness of Chinese brands is on the rise. To enter the Shanghai market, creative design ability, trendy product development, skill, and appropriate PR methods such as using Korean culture contents would be required to satisfy the young, powerful consumers in Shanghai.

• Journal of the Korea Society of Computer and Information
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• v.14 no.9
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• pp.95-104
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• 2009

This paper proposes the noise robust algorithm to detect the starting point of music. Detection of starting point of music is necessary to solve computational-waste problem and retrieval-comparison problem with inconsistent input data in music content based retrieval system. In particular, such detection is even more necessary in time sequential retrieval method that compares data in the sequential order of time in contents based music retrieval system. Whereas it has the long point that the retrieval is fast since it executes simple comparison in the order of time, time sequential retrieval method has the short point that data starting time to be compared should be the same. However, digitalized music cannot guarantee the equity of starting time by bit rate conversion. Therefore, this paper ensured that recognition rate shall not decrease even while executing high speed retrieval by applying time sequential retrieval method through detection of music starting point in the pre-processing stage of retrieval. Starting point detection used minimum wave model that can detect effective sound, and for strength against noise, the noises existing in mute sound were swapped. The proposed algorithm was confirmed to produce about 38% more excellent performance than the results to which starting point detection was not applied, and was verified for the strength against noise.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.146-154
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• 2010

Korean TV program market has started since 1995 along with Cable TV and local TV stations and increased significantly due to Korean wave. Now the new platform such as IPTV makes a new opportunity of growth to the TV program market. This study will analyse the actual status and mechanism of Korean TV program market. To begin, Korean TV market is still dominated by terrestrial TV in domestic distribution market and in exportation even though the windows are diversified. This has influenced not only for the production market but also the distribution market as the following: continuous conflicts between terrestrial TV and independent production companies even though the significant increase of independent production in quantity ; terrestrial TV's dominance in distribution market with enormous libraries as for the major content provider. In addition, there are limited independent distributors due to the exclusive trade of TV programs by terrestrial TV. As for the exportation, foreign market for Korean TV programs are mainly Asian countries like Japan, China, etc. Furthermore, since the genre of distribution has been concentrated in dramas, it is time to make efforts to find a solution. Thus, this research can give a guideline as for the first step.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.24-32
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• 2015

The global success of PSY's Gangnam Style was mediated through combination of YouTube and SNS. PSY's success led into some communication scholars' consideration of new international circulation of Korean pop culture (Korean Trend 2.0). In terms of global circulation of pop culture, it is noticeable how users appropriate YouTube channel beyond mere watching music videos and mere international circulation of Korean pop culture. The mode of fan's activity and appropriation contributes to the expansion of the width and amplification of the volume of Korean popular culture as well. The circulation of pop culture was considered in the level of exchange of tangible commodities such as CD, DVD, and so on until the adoption of digital media and Internet. YouTube has brought new mode in which the international circulation of pop culture is mediated without exchange of tangible commodities but was amplified with the diffusion of network. This study grasps how the mode of users' appropriation contributes to international circulation of pop culture through case studies of some K-pop music videos and international K-pop fans' tribute activities. In terms of theoretical perspective, fandom studies will be examined. In terms of research method, the researcher adopts netnography, a participatory observation on network, to find the feature of fandom and its contribution to the international circulation of pop cultures.

• Journal of the Korean Society of Propulsion Engineers
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• v.12 no.5
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• pp.79-91
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• 2008

The present article is intended to introduce the X-51A Scramjet Engine Demonstrator-Wave Rider (SED-WR) program and its core technologies to the korean propulsion community. The X-51A program is lead by the U.S. Air Force Research Laboratory (AFRL) and is sponsored by the U.S. Defense Advanced Research Projects Agency (DARPA). Most of the contents is taken from the paper by Hank et al.[1] with the supplemental materials from additional references. X-51A is a hypersonic experimental vehicle for the flight test of the hydrocarbon fuel-cooled scramjet engine developed by the AFRL HyTech program. The scramjet engine and the hypersonic flight technologies may enter the era of practical use by the completion of the ground tests in 2008 followed by the flight tests scheduled in 2009.

• 한국정보교육학회:학술대회논문집
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• 2021.08a
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• pp.289-294
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• 2021

With the development of artificial intelligence, a wave of the 4th industrial revolution is taking place around the world. With the technologies such as big data and Internet of Things-based artificial intelligence, we are heading to a hyper-connected society where everything converges into one. Accordingly as educational talents in the era of artificial intelligence, we are pursuing the cultivation of creative convergence-type talents and emotional creative talents. With human creativity and emotion at the center, we should be able to collaborate with artificial intelligence and create new things by converging knowledge in various fields. By developing a program that combines humanities-oriented Korean language with engineering-oriented artificial intelligence, this research attempted to help students experience solving problems creatively by combining humanistic knowledge with engineering thinking skills. The educational program consists of two kinds of contents(i.e., "Books with AI" and "A Play with AI") and 15 classes that provide students with opportunities to solve humanities problems with artificial intelligence.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.598-608
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• 2016

This paper attempts to analyze the narrative strategy of co-produced transnational romance films, (2007) and (2010). These films were produced during the heyday of Korean wave, the phenomenon Korean popular culture enjoys overseas fandom. Coupling Korean male star with Japanese female star, and dramatizing their romance, the industries attempted to attract the nations' cultural consumers. International co-production has been considered as a mode of production strategic enough to penetrate into neighboring nations. One of the major benefits of international co-production is to cope with 'cultural discount' between nations. Since producers and directors from different cultural background can participate in the creative process and share ideas, they can devise quite strategic form and content to please culturally heterogeneous consumers. Korea and Japan have long been in socio-political conflict, which makes it crucial for these films' cultural producers not to stir spectators' nationalism. In other words, these films' cultural producers had to develop a narrative strategy not to analogize nations' political reality. This paper, therefore, aims to analyze the narrative structure of these films, and to specify narrative strategy in detail.

• International Journal of Internet, Broadcasting and Communication
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• v.12 no.3
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• pp.64-73
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• 2020

The importance of international co-production that enables content production, diversification of overseas markets, and diversification has been highlighted as demand for content has soared due to intensifying competition between media outlets, while contents provision has become easier due to changes in media environment such as convergence of broadcasting and communication and the spread of mobile Internet. In particular, the boom in Korean dramas, called the Korean Wave in China, opened up a new market after "My Love from the Star" in 2014, and in 2016, Netflix's entry into Korea served as an opportunity for local broadcasters and producers to seek international co-production. In addition, "Good Doctor" which was aired on American Broadcasting Co. (ABC) in 2017, has topped the same time slot for the first time in 29 years, and is set to air season 4 this fall. Accordingly, overseas broadcasters and production companies wanted to collaborate with domestic broadcasters and producers, and since 2011, they have conducted a total of 12 co-produced dramas until 2019. Unfortunately, however, there are few studies related to international co-production dramas in the domestic industry and academia. In this paper, we present to help Korea, which used to be a powerhouse in complete export-type content, move toward becoming a powerhouse in international co-produced dramas. In addition, it is meaningful that the research focused on the current status and achievements of international co-production dramas, which have not been studied much, and the diversity of international co-production dramas in the future through the analysis of the form and structure of international co-production.