Earticle

본 연구는 2012년 이후 한일관계가 급격히 냉각되고 있는 상황에서 일본시장의 한류지속가능성에 대한 의문점에서 출발하였다. 즉, 양국간의 정치상황에 관계없이 과연 한류열풍이 지속되고 있는지 파악하기 위해 기존의 연구에서 많이 다루었던 드라마나 영화 중심이 아닌 新한류인 K-pop에 대한 한류를 중심으로 연구하였다. 가설을 검증하기 위해 도쿄, 요코하마, 지바 등 일본에 거주하는 일본 시장의 소비자 213명을 대상으로 자료를 수집하였으며, 본 연구에서 제안된 가설을 검증하기 위해 구조방정식모형을 설정하고 분석을 실시하였는데 연구결과는 다음과 같다. 첫째, 한국에 대한 이미지 풍부성이 높을수록 한류에 대한 태도가 호의적인 것으로 나타났다. 둘째, 한류에 대한 태도가 호의적일수록 한국 소비재 제품에 대한 태도가 호의적인 것으로 나타났다. 셋째, K-Pop에 대한 브랜드-파트너의 질이 높을수록 한류에 대한 태도, 소비재 제품에 대한 태도, 한국에 대한 이미지 풍부성이 높아지는 것으로 나타났다. 따라서, 본 연구에서는 다른 연구와는 달리 브랜드-파트너 질이 외국인들의 한류를 설명하는데 있어서 매우 중요한 변수임을 밝혔다. 본 연구의 결과는 한일관계가 악화되어 있는 상황에서 설문조사가 이루어졌음에도 불구하고, 한류에 관심있는 일본 소비자는 정치와는 변함없이 K-pop에 관심을 가지고 있음이 밝혀졌으며, 또한 일본소비자는 지속적으로 한국 문화콘텐츠에 대하여 관심을 가지고 있는 것으로 파악되었다. 한편 본 연구는 일본의 다양한 지역을 반영하지 못한다는 한계점을 갖는다. 따라서, 이후에는 다양한 지역에서의 자료를 바탕으로 한 연구가 필요하다. 또한 한일 관계의 변화에 따른 연구 및 대상이 되는 제품의 관여도에 따른 차이를 확인할 필요가 있다.

This study is to find sustainability of Korean Wave in Japan under Korea-Japan relations have gone sour. Since 2012, former President of Republic of Korea Lee Myung-bak's visit to Dokdo in August, bilateral ties have effectively remained severed sector. In these circumstances, Korean wave in Japan has been emerging issue between Korea and Japan. Some experts insist that Korean Wave ended in Japan. So, purpose of this study is analyze that new Korean wave in Japan under the cold state between Korea and Japan. Respondents consist of Japanese people who mainly live in Tokyo, Yokohama and Chiba. The results are as follows. First, people who highly have image fluence of Korea have an friendly attitude to Korea. Second, high friendly attitude has a positive impact on Korean products. Third, high brand-partner quality about K-Pop has a positive impact on attitude on Korean Wave, Korean products and image fluence of Korea. So, this study find that brand-partner quality is the important factor in Korean Wave in Japan. The findings demonstrates that Korean wave in Japan is much stronger than expected. In conclusion, highly interested Japanese people about Korean Wave continuously like and love Korean entertainments like K-pop, K-drama and Korean artists. So, Korea should be successful in improving ties with the Japan through natural exchanges of culture at the civilian level.

K-pop의 세계적 확산은 다양한 형태의 팬 경험 콘텐츠로 이어지고 있으며, 그중 콘서트 실황중계 영화는 시간과 공간의 제약을 넘어 현장감을 제공하는 대안적 공연 형태로 주목받고 있다. 이에 본 연구는 온라인 설문조사를 통해 말레이시아 K-pop 팬을 대상으로 콘서트 실황중계 영화의 서비스 품질이 관람 만족도와 재관람 의도에 미치는 영향을 실증적으로 분석하고, 이 과정에서 팬십의 조절효과를 함께 검토하였다. 서비스 품질은 서비스 결과품질, 상호작용 품질, 물리적 환경품질, 가격대비 품질의 네 가지 차원으로 구성되었으며, 팬십은 팬의 정서적 몰입과 행동적 참여를 반영하는 조절변수로 설정되었다. 분석 결과, 첫째, 서비스 품질 요인 가운데 상호작용 품질과 가격대비 품질이 관람 만족도와 재관람 의도 모두에 가장 강력한 영향을 미치는 것으로 나타나, 감정적 교감과 경제적 만족이 팬 기반 콘텐츠 소비에서 핵심적인 결정 요인임을 시사하였다. 둘째, 팬십은 서비스 품질과 결과 변수 간 관계에서 조절 변수로 작용하였으며, 특히 상호작용 품질과 가격대비 품질이 팬십 수준에 따라 만족도 및 재관람 의도에 미치는 영향력이 강화되었다. 셋째, 말레이시아 팬을 대상으로 한 본 실증연구는 콘서트 실황중계 영화가 단순한 공연의 대체재를 넘어 팬 경험을 극대화하는 몰입형 문화 콘텐츠로 기능할 수 있음을 보여주었다. 본 연구는 콘서트 실황 콘텐츠의 서비스 전략 수립과 글로벌 팬덤을 고려한 마케팅 방향 설정에 실무적 기초자료를 제공하며, 팬 경험 품질(Fan Experience Quality)이라는 분석 틀을 중심으로 관련 연구의 이론적 확장 가능성을 제시한다는 점에서 학문적 의의가 있다.

This study examines how the service quality of K-pop concert movie affects audience satisfaction and intention to rewatch among K-pop fans in Malaysia. The service quality was categorized into outcome quality, interaction quality, physical environment quality, and perceived price value. Fanship was analyzed as moderating variable. Using multiple regression analysis, the findings revealed that interaction quality and perceived price value had the strongest influence on both satisfaction and rewatch intention. Moreover, fanship demonstrated moderating effect on the relationships between specific service quality factors and the outcomes. This study offers theoretical and practical implications for planning service strategies in concert screening content and developing global fandom-based marketing approaches.

2000년대 중반 이후 한국의 대중가요, 일명 K-pop에서는 이중 언어 또는 다중 언어 공동체에서 나타날 수 있는 언어 선택(language choice)이 상당히 활발하게 이루어져 왔다. 이와 같은 사실을 전제로 본 연구에서는 최근 3년간 인터넷 멜론 월간 차트(http://www.melon.com)에서 상위 10위 안에 든 360곡 중 중복으로 순위에 오른 곡을 제외한 272곡을 대상으로 K-pop 노랫말의 언어와 언어 선택의 양상 및 그와 같은 언어 선택의 구체적인 모습으로서 코드 전환의 양상 및 기능에 대해 살펴보았다. 연구 결과를 요약하면 다음과 같다. 첫째, 대상곡인 272곡 가운데 코드 전환을 보인 곡은 171곡으로 63.9%의 비중을 차지한다. 특히, 가장 최근인 2015년에는 72.8%가 코드 전환을 보여, 갈수록 코드 전환이 활발해지고 있음이 확인되었다. 둘째, 대부분의 코드 전환이 한국어(기저언어)와 영어(삽입 언어) 간의 선택을 통해 이루어지는 가운데 펀자브어 또는 프랑스어가 선택되기도 하였다. 이는 세계화의 특성을 반영하는 것으로, K-pop에서의 언어 선택이 영어 외의 다른 언어로 확장될 가능성이 있음을 시사하는 것이다. 셋째, 코드 전환을 코드 혼용(code-mixing)과 좁은 의미의 코드 전환(code- switching)으로 구분하였을 때, 코드 혼용과 함께 코드 전환을 보여주는 곡은 124곡으로 72.5%의 높은 비중을 차지한다. 이는 대부분의 K-pop 가사가 코드 혼용과 코드 전환을 동시에 보이고 있음을 반영하는 것이다. 넷째, K-pop 노랫말에서 나타나는 코드 전환의 담화 기능은 음악적 기능과 의미적 기능 두 가지로 구분할 수 있다. 음악적으로는 ‘압운, 후렴, 추임새’ 등의 기능을, 의미적으로는 ‘정체성 표현, 강조, 명확화, 완곡어법, 인용’ 등의 기능을 수행하고 있음이 특징이다.

The language choice, which usually appears in a bilingual or multilingual community, has been actively done on K-pop after mid 2000's. On the assumption of this fact, targeting 272 songs among 360 songs which exclude overlaps in recent three years monthly chart on 'Melon', this research examined the language, language choice, and the aspects and functions of code-switching as specifics of K-pop lyrics. The summary of result is as follows. First, 171 songs, which consists 63.9% of 272 subjecting songs showed the code-switching, especially 72.8% showed code-switching on 2015, implying code-switching is on the rise. Second, while most code-switching is done with Korean(base language) and English(insertion language), also Panjabi and French had been chosen. This reflects the aspects of globalization, which suggests possibility that language choice of K-pop can be expanded to other languages besides English. Third, when divide code-switching into code-mixing and narrow sense of code-switching, 124 songs(72.5%) showed code-mixing with code switching. This shows most of K-pop lyrics is showing code-switching and code-mixing at the same time. Fourth, code-switching's discourse function appears on K-pop lyrics can be subdivided into musical and meaning functions. Musical function includes 'rhyme, refrain, rejoinder', meaning function includes 'expression of identity, emphasis, clarification, euphemism, quotation'. This research is significant in investigation of recent aspects and functions of language selection and code-switching. Especially it is distinguished among existing researches in that it embodied function of code-switching by dividing it into two separate functions-musical and meaning.

Studies with various approaches are required for the globalization of Korean Food. The objectives of this study were i) how the preferences of foreign students residing in Korea on K-Wave, K-Drama, K-Pop and K-Friend affect their preference, satisfaction level and repurchase intention on Korean food, and ii) which of the factors have the strongest effects on their preference, satisfaction level and repurchase intention on Korean food. The results showed that the higher K-Wave, K-Drama, K-Pop and K-Friend preferences, the stronger effect on the preference, satisfaction level and repurchase intention on Korean food (p=0.0001). Among the factors for Korean food preference, the most critical one was K-Wave preference (p=0.0001), followed by K-Drama preference (p=0.0500). For the satisfaction level of Korean food, the most important factor among the four was K-Wave preference (p=0.0496), followed by K-Drama preference (p=0.0500). For the repurchase intention on Korean food, the most significant factor was the preference for K-Friend (p=0.0004), followed by K-Drama (p=0.0016) and K-Wave (p=0.0030). Based on these results, more efforts to invigorate the preferences for K-Wave and K-Drama, as well as various attempts to improve the preference for K-Friend are required for the globalization of Korean Food.

This study employs a netnographic approach to examine audience engagement with animated non-human influencers in the film K-Pop Demon Hunters, analyzing online discussions to explore how K-pop-inspired animated characters captivate global audiences. Through analysis, the study identifies five key engagement themes. Findings reveal that source- and content-related factors foster parasocial relationships through K-pop-inspired personas, authentic cultural portrayals, and compelling narrative arcs. The study contributes to the literature by demonstrating how K-pop-based animated non-human influencers function as credible agents within the Hallyu wave, leveraging actor-network theory to highlight networked interactions among characters, cultural content, and global audiences. Practical implications suggest that media creators and entertainment professionals can enhance global engagement by designing culturally resonant animated characters and cross-media campaigns.

최근 K-pop은 아시아 국가를 비롯해 전세계적인 인기를 구사하고 있다. 드라마를 중심으로 확산되던 한류는 2005 이후 아이돌그룹 가수들을 위시로 한 K-pop 중심으로 재편되고 있다. 한류 팬들의 한류 소비행태는 단순한 콘텐츠 소비를 넘어서서 한류스타의 모방뿐 아니라 한글을 배우는 등 보다 발전된 행동으로 확대되고 있다. 이에, 본 연구는 K-pop의 주요 소비국인 중국, 일본, 태국, 베트남의 아시아 4개국을 대상으로 하여 K-pop 이용행동을 파악하고, K-pop을 좋아하는 이유를 파악하였다. 또한, K-pop이 한국에 대한 호감도와 한국방문의도에 어떤 영향을 미치는지 알아보았다. 분석결과, 국가별 K-pop 이용행동의 차이를 발견할 수 있었으며, K-pop 선호요인과 국가호감도과 한국방문의도 간 영향관계를 파악하였다. 연구결과는 향후 K-pop의 해외진출에 유용한 기초자료로 사용될 수 있을 것이다.

K-pop has gained its popularity all over the world, and its popularity is mostly concentrated in Asian countries. Korean wave which has started from Korean dramas has expanded its horizon to K-pop, which centers around idol singers since 2005. The K-pop's popularity is evident from fans imitating singers' dance moves, makeup, appearance, and even trying to learn Korean. This study tries to explore consuming behaviors of Asian K-pop consumers from China, Japan, Thailand and Vietnam, and the main reasons Asian consumers prefer K-pop over their own countries' pop. The study also analyzes on how K-pop influences K-pop consumers to build positive feeling toward Korea and give them intention to visit Korea. The results showed the differences among K-pop consuming behaviors, relationship among attributes of K-pop, positive feeling toward Korea, and intention to visit Korea among four Asian countries. Findings would be the stepping stone that could support K-pop to expand its market to other foreign countries.

This paper challenges previous K-pop studies on fandom in South Korea to broaden their focus beyond straight-identified fans to include queer fans. Although previous studies have focused on male K-pop stars as the object of heterosexual desire, the phenomenon of “fan cosplay,” or “fancos” for short, demonstrates that these male stars also serve as a means for cross-gender identification for female fans. This paper explores K-pop’s role as a space for its young female fans to explore gender and sexual identity, as well as its influence on local queer subculture in terms of gendered styling, gendered pairing, and queer terminology. Furthermore, an examination of the historical changes in the popularity of fancos reveals the transformation in the recognition of homosexuality and its backlash in Korea as well as the strategies of the queer subculture to focus on invisibility and in-group differentiation. Therefore, a queer perspective on K-pop studies includes domestic queer fans in the study of K-pop, complicates the heteronormative assumptions of fandom studies, and the relationship between commercial media and desire and sheds light on sexual politics in South Korea.

Before K-pop emerged as a global phenomenon, the term pop in South Korea is often assumed to have referred mainly to Anglo-American music. Yet between the mid-1960s and mid-1980s, pop (p’ap) and pops (p’aps) were also widely used for domestically produced music. This study examines how pop was defined and debated in a rapidly developing South Korea by analyzing media discourse and musical practices of the time. Two case studies anchor the discussion: Jo Dong-jin (Cho Tong-jin) and Lee Sooman (Yi Su-man), both linked to the influential Orient label. Cho later founded Hana Music and Yi founded SM Entertainment. Despite their contrasting aesthetics and strategies, both companies shared common roots until the early 1990s, when globalization and digitalization reshaped the industry. Today they seem worlds apart, yet enduring personal and professional ties reveal subtle but lasting imprints on K-pop’s texts, discourses, and practices.

This study examines the K-pop ‘concept’ from a management perspective, viewing it not as a cultural or artistic perspective with categoricalism but as a strategic approach tied to resource allocation, marketing, and sales. Unlike the previous research that asked how concepts change, this study focuses on why they change through arguing the change was analyzed as the variability, which is intentional and based on fandom vector, of K-pop concept from the changeability of it in the previous study. To do this, this study employs the causal model and feedback model with mathematical logic. And through cases of Brown Eyed Girls and PSY, it illustrates how deliberate concept shifts can boost concept effect and consumers’ engagement in the real market.

La actual ola cultural surcoreana, mejor conocida como Hallyu, se ha valido de la contemporanea dinamica de la globalizacion para expandirse a todo lo ancho y largo del planeta, como una pandemia que ha contagiado a millones de personas en el mundo con una fiebre por los productos de entretenimiento surcoreanos, y que se sigue propagando. De entre dichos productos, uno de los mas atractivos es indiscutiblemente el K-Pop, o musica pop de origen surcoreano, debido a su gran calidad, versatilidad, frescura y magnifica produccion, que han cautivado a gran cantidad de melomanos a nivel mundial. Este atractivo genero musical ha logrado expandirse y venderse exitosamente en todo el globo gracias a agencias musicales surcoreanas que han demostrado tener una amplia vision de negocios y una gran capacidad para moldearse a los canones sociales y al desarrollo tecnologico de la modernidad, usandolos a su favor para crecer, en lugar de resistirse y oponerse a ellos afianzandose a viejos modelos, como ha ocurrido en otras partes del planeta. Puede que, a su vez, esta escasa adaptabilidad a las nuevas corrientes y condiciones del mercado global, sea un factor que propicie el incremento del gusto por el K-Pop en algunos paises, incluso los mas alejados geograficamente de Corea del Sur, como Mexico, cuya industria discografica ha ido experimentando una debacle en los ultimos anos. Con el fin de corroborar esta hipotesis, se realizo en este pais Latinoamericano un analisis academico profesional que pretende demostrar la correlacion que existe entre la pobre produccion nacional dentro del genero pop y el reciente auge del K-Pop, surgido en particular entre el publico juvenil. Los resultados aqui obtenidos podrian ser extrapolados a otros generos, e incluso a mercados donde se haya comprobado la decadencia del sector musical nacional.

In the early 2010’s, the expansion of South Korean popular culture around the world is led by popular music, usually known as Kpop. In this paper I seek to answer two questions. First, what are the sources of its success beyond the South Korean national border?Secondly, what does it say about contemporary South Korean society and culture?

Due to the close but complicated relationship between the Japanese and Korean music industries, J-pop and K-pop have several significant commonalities and differences. By analyzing the transformation of K-pop in tandem with Japanese influences through a convergence of political economy in terms of historical approach and textual analysis, this paper identifies several key elements involved in the growth of K-pop. It does not attempt to determine the major reasons for the success of K-pop, and/or the failure (or low degree of popularity) of J-pop in global markets. Instead, it comparatively discusses several major features?including idol production systems, copyright issues, and hybridity?of these two popular music genres, thereby mapping out J-pop’s influences and the remnants of such influences in the K-pop sphere, as well as the ways in which K-pop has become a model for J-pop. It aims to investigate the contemporary cultural stages and transition of popular music in Korea occurring within the unfolding logic of cultural globalization, known as hybridization.

This study will analyze the stylistic components and expressions of Korean popular culture found in advertisements featuring K-Pepsi Chile. In 2020, Pepsi Chile recruited five male K-pop fans talented in dancing and singing to form a Chilean K-pop group called K-Pepsi Chile. What elements of K-pop are shown in these ads, and how did Chilean K-pop fans perceive and reinterpret their Koreanness? To answer these questions, a content analysis will be conducted on the K-Pepsi Chile music videos. YouTube users’ comments on the videos and the results of three focus group interviews with self-declared Chilean K-pop fans between the ages of eighteen and twenty-eight will also be analyzed to determine fans’ perceptions of the presence (or absence) of the elements of K-pop and Koreanness in K-Pepsi Chile. Through this analysis, the study will explore the possible presence of stereotypes about K-pop and Korean culture. Additionally, it proposes the hypothesis that Chilean K-pop fans’ negative perception of K-Pepsi Chile resulted from their identification of inauthentic K-pop elements in K-Pepsi Chile. The K-pop fans’ rejection of K-Pepsi Chile resulted from their interpretation of it as an expression of Orientalism rather than a manifestation of Korean popular culture.

Although scholarly attention has focused increasingly on the global recognition of the Korean Wave, little has been explored regarding the popularity and appeal of this phenomenon in the United States. This article seeks to fill this gap by analyzing the extent to which hallyu has been recognized and accepted by American audiences by focusing on K-pop and K-drama. Exploring how hallyu is being received in America offers meaningful insights into how a country with predominant cultural influence on the global stage responds to another country’s transnational popular culture. This study demonstrates that K-pop and K-drama are gradually gaining popularity and visibility in America via diverse channels. BTS in particular has significantly penetrated the U.S. market by interacting with fans on social media, meeting psychological needs of individuals, and filling in for the lack of boy bands in the current American music scene. While both K-pop and K-drama exhibit some limitations in infiltrating American society, the contemporary status of hallyu in America disputes the idea of American cultural dominance by illustrating a complex and intriguing process of globalization embedded in constant interactions between global and local forces, a process that entails adaptation, acceptance, and tension between different cultures.

K-pop stars are an important influence in the era of digital culture based on emotions. The purpose of this study is to visually express the identity and worldview of their music in the virtual and real world, and to promote Korea's current and past culture. The study also intends to appeal to the emotions of the global fans by designing original textile in their music video 'IDOL' on Tiny TAN - a symbol of world pop star BTS. For design development, traditional Korean images shown in the 'IDOL' video were collected, patterns for each member were selected, and a motif was designed on Adobe Illustrator. We selected the dragon as the motif for V, cloud for Suga, chrysanthemums for Jin, mask for Jung Kook, hanok pavilion for RM, fan for Jimin, and Sam Taegeuk for J-Hope. The selected motifs were designed as per the four textile design arrangement methods: square pattern, 1/2 half drop pattern, turn-around pattern, and panel pattern. The design was presented by mapping Kwaeja to Tiny TAN character. The developed textile design can be used not only for character costumes in virtual space, but also for various products such as clothes, accessories, bedding, cosmetics, stationery, and food. By using it to produce goods inspired by K-pop stars, it can be used as basic data for the development of high value-added competitive products in the global market and create synergy effects of K-Design, which would lead a new trend in the design world.

This study tried to examine the fashion design and style of representative K-Pop boy groups BTS and SEVENTEEN appearing on music shows. The data collection was conducted on 4 music programs(Inkigayo, Music Bank, Show! Music Core, M COUNTDOWN) and YouTube(www.youtube.com) for each boy who worked for 5 years from January 2016 to December 2020. Result analysis utilized the stage scenes and music videos of the title songs of BTS and Seventeen. As for the fashion design and style characteristics of BTS, it was found that overall, the color, pattern, and decoration of the bottom were minimized, and the style was changed mainly by the top of the denim pants. As for Seventeen's fashion design and style characteristics, it was analyzed that plain simple slacks, bright and modest chromatic colors, and geometric and stylistic patterns with street retro sensibility were relatively emphasized, and natural and romantic images appeared a lot. As a result of examining the differences in fashion design and style characteristics between BTS and Seventeen, significant differences were found in color, tone, color scheme, material type, material combination, detail, trimming, pattern, accessories, and fashion image. Overall, it was found that both groups minimized the use of decorative elements such as patterns, details, and trimmings.

Contemporary people can form a broad social sympathy on cultural products based on the present Korean image. K-pop is good material to use to share korean culture, and fans who are enthusiastic here are increasingly demanding cultural products. The visual materials of Bangtan Boys are collected from their album covers, and a concept book, and divided into specific and symbolic images. Based on this motif, three specific images: 'bulletproof vest', 'army house + superhero extract image', and 'Wings symbol', six designs were proposed. In addition, six motifs from the music videos for recent popular songs, 'Spring Day', 'Blood, Sweat and Tears' and 'Burning Up' were selected as symbolic images. Each selected image is divided into a normal line and a special line. The former is a relatively small, stable, and popular style, and the latter is a large, original, and bold style. By drawing and transforming extracted images and motifs using Adobe Illustrator CS6 and Adobe Photoshop CS6 program, a full-width umbrella design was developed. The messages that the Bangtan Boys wants to convey through their music are put into cultural products that contemporaries can sympathize with. By developing umbrellas, a variety of items and design goods can become desirable points of consumption as high-value products by domestic and foreign fandom. If designs that incorporate various elements of future K-pop contents as well as other Korean Wave contents are developed, it will be possible to develop original design products that will form global understanding.

홀로그램은 소수 전문가 집단을 위한 특정 기술의 영역에만 한정되지 않고, 대중을 위한 엔터테인먼트 콘텐츠에서 광범위하게 활용되고 있다. 특히 K-POP 엔터테인먼트 콘텐츠의 경우, 홀로그램 영상을 도입하는 사례가 증가하고 있다. 홀로그램을 부분적으로만 활용해 스펙터클을 연출하거나, 아이돌 자체를 홀로그램 캐릭터로 재현해 '원본 없는 이미지'만으로 콘서트를 진행하기도 한다. 이에 본 연구에서는 K-POP 엔터테인먼트 콘텐츠 중 홀로그램 콘서트를 일정 기간 이상 안정적으로 진행하고 있는 SM Entertainment 의 콘텐츠를 연구 대상으로 선정하고, 홀로그램 콘서트에서 발현되는 스펙터클과 아우라를 분석해 실제 인물의 퍼포먼스와 변별되는 홀로그램 콘서트만의 차별화 전략을 도출했다. 그 결과 홀로그램 콘서트의 경우 배경에서 무대와 객석을 분리함으로써 소외효과를 극대화했으며, 아이돌 캐릭터에게는 탈현실의 환상성을 부여했다. 홀로그램 콘서트에서는 홀로그램의 허구성을 은폐하기 보다는 오히려 이를 폭로함으로써 환상성을 극대화하는 전략을 취한다. 홀로그램 콘서트는 ICT 강국으로서의 한국의 이미지를 강화하고 지리적으로 글로벌화에 불리할 수 있는 한류의 물리적 한계를 극복하여, 융합 콘텐츠의 대중화 사례를 제시한다는 점에서 그 의의가 있다.

Hologram technology is widely applied in entertainment contents for public, no more remained in specific technological area for minority experts. Expecially, K-POP entertainment contents increasingly adopt hologram images. These contents use hologram technology as a part to arouse spectacles or represent idols as hologram characters. In this study, spectacles and aura of K-POP hologram concerts of SM Entertainment which runs stably in certain period were analyzed, so that it could recognized the differentiation strategy distinguished only in hologram concerts. Thus, the setting of hologram concerts alienates seats from the stage so that maximize distance, and the aura of idol characters strengthens through fantasy of escape from reality. Hologram concerts maximize fantasy through exposing tricks rather than concealing it. Hologram concerts enhance image of Korea as ICT leader, overcome physical and geological limitation of 'Korean Wave' to globalize, and propose examples of popularization of convergence contents.