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K-Pop is a new buzz word in the global music industry. Korean pop singers such as TVQX, SNSD, Wonder Girls, and Psy currently attract unprecedented followers in Asia, Europe, and North America. The dominant explanation behind this unique cultural phenomenon rests on the concept of cultural hybridity or Pop Asianism (i.e., continuation and expansion of Japanese, Chinese, and Indian subcultures in the global cultural market). I argue that the globalization of K-Pop involves a much more complicated process of globalizinglocalizing-globalizing musical content that originates from Europe than what hybridity or Pop Asianism arguments suggest. Specifically,the rise of K-Pop in the global music industry involves a new technique of locating new musical content in Europe or elsewhere,modifying it into Korean content, and then redistributing it on a global scale. Furthermore, K-Pop represents an effort to network global talent pools and social capital in the formerly disconnected music industry rather than an effort to emulate and slightly modify Japanese pop culture. As such, within the global music industry,Korea occupies a structural hole that exists between Western and East Asian music industries.

This paper examined 700+ Korean pop songs to probe the frequency and pattern of English mixing across six main genres: trot, rock, ballad, dance, R&B, and hip-hop. Since genres have fairly predictable sets of regularly occurring and conventional forms, English use in each genre is expected to differ. Frequency of mixing was measured using the proportion of songs that contained English in each genre, while mixing pattern was investigated using a mixing scale that contained seven levels. Then, I suggest factors that trigger English mixing: time of introduction, theme of lyrics, and key of melody. Combining these factors accounts for the general tendency of English use in different genres.

본 연구는 중국인이 지각하는 한류의 K-pop 속성이 국가이미지에 미치는 영향과 국가이미지가 행동의도에 미치는 영향관계에 대하여 연구하였다. 연구의 공간적 범위는 상해지역에 거주하고 있는 중국인으로 한정을 하였고 자기기입식 설문방식 설문지를 사용하였다. 한류의 K-pop에 관한 문항으로는 소재와 내용 4문항, 시각적․음향적 효과 4문항, 문화적 관심 3문항으로 구성하였다. 국가이미지에 관해서는 15문항으로 구성하였다. 행동의도에 관해서는 3문항으로 구성하였다. 설문지는 500부 배포하여 최종 360부를 유효응답으로 사용하였다. 분석방법은 SPSS 12.0을 이용하여 빈도분석을 하였고, 연구모형과 가설검증을 위한 확인적 요인분석은 공분산구조분석 프로그램인 LISREL 8.52를 활용하였다. 연구의 결과 첫째, K-pop의 소재와 내용은 국가이미지에 긍정적인 영향을 미치는 것으로 나타났다. 둘째, K-pop의 시각적․음향적 효과는 국가이미지에 긍정적인 영향을 미치는 것으로 나타났다. 셋째, K-pop을 통한 한국 문화의 관심은 국가이미지에 긍정적인 영향을 미치는 것으로 나타났다. 넷째, 한국에 대한 국가이미지는 행동의도에 긍정적인 영향을 미치는 것으로 나타났다.

The purpose of this study is to examine the effects of Korean Wave contents on country image and behavioral intentions based on Chinese potential tourists. Three hundred sixty respondents at Shanghai were selected and were invited to participate in this study. Structural Equation Modeling(SEM) with LISREL 8.52 analysis highlighted the structural relationship between Korean wave contents, country image, and behavioral intentions. Results of this study found that Korean wave contents(topics and themes) had a positive effect on country image. There was also a positive, significant relationship between Korean wave contents(visual and sound effects) and country image. Korean wave contents(Interests of Korean culture) had a positive effect on country image. Additionally, SEM supported a positive relationship between country image and behavioral intentions. Future study could explore what determinants affect country image and behavioral intentions at other destinations so that tourism practitioners or marketers might aware of the diversity of the groups' experiences. Additionally, future study may need to focus on qualitative approaches to measure the relationship between Korean wave contents, country image, and behavioral intentions.

이 연구는 디지털 환경 변화에 대응하기 위해 수익구조를 온라인으로 전환하고 팬덤 기반 마케팅을 강화하는 국내 팬덤 커머스 플랫폼을 대상으로 케이팝 콘텐츠 업데이트 주기와 가격의 변화가 소비자 구매 의사에 영향을 주는지에 관한 실증연구이다. 이를 위해 팬덤 플랫폼 전문가를 대상으로 FGI를 실시하고 이를 기반으로 디자인한 결합분석을 활용하여 설문조사를 수행하여 콘텐츠 업데이트 선호주기에 따른 가격탄력성의 차이를 확인하였다. 그 결과 케이팝 콘텐츠 가격탄력성의 비탄력적인 특성을 확인할 수 있었으며 콘텐츠 업데이트 선호주기에 따른 가격탄력성의 변화는 통계적으로 유의하지 않았다. 이 연구는 앞으로 성장하게 될 팬덤 커머스 시장의 마케팅 전략을 세우는데 활용할 기초자료를 제공한다.

This study is an empirical study on whether the interval of K-pop content updates and price changes consumer purchasing intentions for domestic fandom commerce platforms that turn their profit structure online and strengthen fandom-based marketing to cope with changes in the digital environment. FGI and a survey was conducted using a conjoint analysis designed to confirm the difference in price elasticity according to the content update interval. As a result, the price elasticity of K-pop content was found to be an inelastic characteristic, and the change in price elasticity according to the content update interval was not statistically significant. This study provides basic data to be used to establish a marketing strategy for the fandom commerce market that will grow in the future.

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이 글은 ‘소녀’와 ‘남성’이라는 각 젠더 주체를 입각점으로 삼아, 젠더가 자명한 실체가 아니라 역사상의 결절 속에서 서로를 대타항으로 두고 재구성되는 이데올로기적 산물이라는 점을 추적한 『소녀들』과 『그런 남자는 없다』를 경유하여 지금-여기의 젠더 정치와대항 서사로서의 젠더 재현이 함의한 문제점들을 살펴보았다. 『소녀들』과 『그런 남자는 없다』는 오늘날 페미니즘의 최전선에서 가장 문제적 화두 중 하나인 젠더 정체성의 계보를 탐사한다. 궁극적으로는 남성중심사회의 공고화에 젠더 규범과 이원적 젠더체계가 어떻게 공모하며 작동해왔는지, 그 질서 안에서 개별 주체들이 어떻게 역사화되며 자기보존과 변신을 꾀해왔는지를 규명하며, 고정된 ‘젠더정체성’에 대한 통념을 깨뜨린다. ‘남성성’과 ‘여성성’은 한 시대의 질서와 아이덴티티가 어떻게 구성되고 작동하는지, 그 질서의 편재 하에 사람들에게 무엇이 사유될 수 있고 경험되고 정해지는지를 보여주는 표징이다. 근대국가는 언제나 이상적인 ‘남성성/ 여성성’을 제시하고 규율해왔지만, 젠더성과 젠더 규범은 자명한 범주가 아니다. 오히려 ‘남성성/ 여성성’은 서로를 대타항으로 두고 상호구성적으로 정립되는 헤게모니적 구성물이다. 특정 젠더 주체가 스스로를 어떻게 호명하고재현할 수 있는가의 문제는 곧 위태로운 정체성을 재구성하고 인입을 승인하는 장치로서의‘젠더’와, 젠더 이외에 개인의 정체성을 구성하는 준거들에 대한 성찰을 요청한다. 이제 ‘페미니즘’은 ‘차별’에 대한 문제제기와 폭로에서 나아가 ‘여성성/ 남성성’이란 무엇인가에 대한 발본적인 물음을 던지고 있다. 젠더성-젠더규범에 대한 타자화와 위계화는 결코동질화될 수 없는 ‘성 정체성(남성성/ 여성성)’을 균질적인 것으로 착시하게 하고 계급과 계층, 인종 사이에서 발생하는 차별과 불평등을 은폐해왔다. 이원화된 젠더 분할은 특히 ‘노동’ 과 ‘자본’을 가치화하는 과정에서 그 차별적 구조를 내면화하도록 만드는 장치로 기능했다. 성차는 보편적이거나 고정적인 것이 아니며, 사회적으로 코드화되는 성질의 것임에도 불구하고 ‘남성성’과 ‘여성성’은 서로를 ‘구성적 외부’로 두고 분리와 변별을 통해 재구성되어 왔던 것이다. 또한 여성숭배까지를 포괄한 여성혐오는 호모포비아와 더불어 남성사회의 공고화와 남성성의 규범화에 공모해왔다. 오늘날 젠더 정체성에 대한 스펙트럼은 확장되고 교란되고 있다. LGBT 등에 대한 논쟁과끊임없이 허물어지고 재구축되는 ‘여성성/ 남성성’의 경계는 단지 담론 차원에서 맴도는 논박이 아니라, 당사자들의 실존과 결부된 절박한 삶의 투쟁이다. 그것은 가해와 피해, 정상과비정상, 다수자와 소수자, 남성성과 여성성이라는 이분법적 구도의 접근으로는 내파하기어려운, ‘얼굴과 목소리를 가진’ 주체들의 투쟁이다. 타자가 내린 정의와 결박에서 벗어나이제 막 스스로의 입으로 자신을 설명할 ‘언어’를 찾아 나선 주체들의 목소리에 귀를 기울이는 것으로부터 ‘정확한 희망’은 도래할 것이다.

This article considers the problems of gender politics and representations of gender issue as a counter-narrative in here(Republic of Korea) and now(2017) through ideas, There are no man who you think and Girls. These two books, There are no man who you think and Girls explore the genealogy of gender identity which is the most problematic in Korean society recently. Ultimately, these books seems like try to reveal how the dual( heterosexual-centered) gender system has worked in cartel of male-centered society and gender norms. Ideas, ‘Masculinity’ and ‘femininity’ are representations which shows how social orders and gender identities of one age are composed, and what could be experienced and prescribed by people who should be under the domination of the social order. Modern nations has always proposed and governed the ideal “masculinity / femininity.” However, a gender reflected and gender norms are not self-evident. Rather, ‘masculinity / femininity’ is a hegemonic construction which is established in inter-constructive way between them as the opposite term. How the gender subject calls or represents her / himself? This question requests introspections about ‘gender’ as an essential element for self-identity making, also other elements except ‘gender’. Now, an issue of ‘feminism’ change from the question and exposure of ‘discrimination’, to fundamental questions for what is ‘femininity / masculinity.’ Otherizations and hierarchizations of gender reflected and gender norms have caused an illusion to regard ‘gender(masculinity / femininity)’ as homogeneous, which never be homogenized. Also it has concealed the discrimination and inequality that arises between class, stratum and race. Dualized gender classifications functioned as a device to internalize the discriminatory structure in the process of valuing ‘labor’ and ‘capital’. Sex differences are not universal or fixed, but socially encoded. Nonetheless, ‘masculinity’ and ‘femininity’ have been reconstructed through segregation and discrimination by being ‘constitutive outer’ for each other. Today, the spectrum of gender identity is expanding and disturbing. The controversy over LGBT and the breakdown of ‘femininity / masculinity’ is not just disputes over discourses, but desperate struggles for life associated with the existence of the minorities. It is a struggle of ‘subjects with face and body’ that can not approach or impose, the dichotomy of injustice and damage, normal and abnormal, majority and minority, masculinity and femininity.

The purpose of this study is to present global online distribution strategies for K-pop through a case analysis of “Gangnam Style” (hereafter GS). For it, this study reviews the literature concerned with traditional global strategy before the digital economy and discuss a new approach feasibility of the Web 2.0(hereafter Web2) theory for new global online distribution. Based on these, the author conducts an analysis. Firstly, it is examined what kind of success factors are mentioned about GS. Then, The Web2 is examined in light of the factors that led to the success of GS and this study proposes a direction of global online distribution strategy of K-pop in the future.

The success of K-pop’s global drive has provoked scholarly interests from various perspectives and disciplines. The multidisciplinary interest in K-pop reflects the wealth of K-pop success factors that are either exogenous (i.e., emphasizing global factors) or endogenous (i.e., highlighting Korean factors). This article focuses on the endogenous factors of K-pop’s success, given the fact that the majority of the extant studies on K-pop analyze the impact of global factors on K-pop’s popularity in different regions of the world. Thus, this study seeks to find if non-stereotypical Korean particularities that cannot be accounted for by exogenous explanations exist within the K-pop industry. We posit that the Korean peculiarities in the K-pop industry can be traced back to time/space hybridity, the “red queen’s race,” and cosmopolitan striving. This article finds that these three specific features within modern Korean culture explain why K-pop songs are still different from American or European pop music, despite their similarities due to the globalization of pop music. The differences between K-pop music and their counterparts in America and Europe are: the contemporaneity of the uncontemporary, the synchronized dancing to melodic music (vis-a-vis beat music), and the multi-top dancing formation. We conclude that the aforementioned Korean factors are responsible for these musical variations in K-pop.

South Korea’s LCC (Low Cost Carrier) industry, which started from the 2000s, brought upon a new lifestyle within the country. In Korea, unlike European or U.S. markets, air travel was limited and previous domestic airlines mostly focused on the business sector. The LCC industry had a shaky start with high initial investment and low load factors, but soon started to take root as they started to take over the domestic market and competed for overseas routes, making air travel a reality for the masses. Today, profitability of low-cost airlines have been improving as their routes expanded and load factors went up, especially in routes connecting China, Korea and Japan. Also, greater aircraft usage by utilizing “red-eye” flights to Southeast Asian destinations greatly improved the efficiency of aircraft operations. Further, the decrease of the public’s initial rejection of low-cost airlines also served as a contributing factor. A significant portion of the market for domestic flights is now owned by low-cost airlines. The market share of domestic flights for low-cost airlines, which was only 2.17% in2006, increased to 9.72% in 2008, to 27.35% in 2009, and to 34.1% in 2010. In the first half of 2011, the market share for domestic flights went over 40%. An industry specialist pointed out, “because domestic flights have short travel distances, price is more of a significant factor than service. Comparatively, this provides a structure in which low-cost airlines can easily advance.” Even in short-distance international flights such as flights to Japan, the advancement of low-cost airlines is continuing as of today. Jeju Air, which has shown the fastest growth rate among all domestic low-cost airlines, has exceeded 2 billion won in sales in 2011. Since its inaugural flight in 2006, its average yearly growth rate was 91%, and it has been earning surplus profits since the second half of 2010. In 2011, Jeju Air’s sales from international flights began to exceed those of domestic flights. In the fast growing market for low-cost airlines, there are many airlines from other Asian countries competing in the same market. In terms of price, Korean LCCs are positioned somewhere between a full service carrier (FSC) and a traditional LCC which charges as low as 50% of the FSCs fare. The ticket cost of domestic low-cost airlines is about 70%~80% that of major airlines such as Korean Air, or Asiana. In the following case study, we will examine and analyze the results of brand building strategies of Jeju Air, which has secured a new competitive advantage in the intensifying competitive landscape and is pursuing a significant leap as an Asian LCC. Specifically, we will analyze and contrast the brand building strategies, various customer satisfaction activities, and service management programs of successful global LCC firms such as Air Asia, Jetstar, and JetBlue. Jeju Air has benchmarked their success factors, and such principles have been reflected in Jeju Air’s brand building strategies, which began in April of 2012. Through the analysis of customer feedback collected in September of the same year, we aim to show the effectiveness and limitations of Jeju Air’s brand building strategies as well as present future challenges.

Based on 462 publications from the Web of Science (WoS) Core Collection, this study applies CiteSpace 6.2.R3 to examine the knowledge structure and evolutionary trends of K-Pop research. The co-citation and keyword networks exhibit strong structural validity, with representative clustering indicators (e.g., keyword network Modularity Q > 0.6 and Silhouette S > 0.7) confirming robust and well-defined thematic structures. Seventeen major clusters are identified, among which cultural hybridity, fan identity and participation, digital platforms and algorithmic mediation, and soft power and national image communication emerge as core research fronts. Centrality analysis identifies Jung, Lie, and Oh as key intellectual connectors. Disciplinary analysis shows that communication studies, cultural studies, and Asian studies form the core knowledge base, supplemented by interdisciplinary linkages from sociology, information science, and cognitive psychology. Collaboration patterns reveal an internationally connected research network centered on Korean academia. Keyword clustering and burst detection indicate a shift from early Korean Wave?oriented discussions toward platform-driven topics such as social media dynamics, algorithmic recommendation, and virtual performance. Compared with prior bibliometric studies, this research expands temporal coverage and dataset scale while providing a more systematic reporting of clustering and centrality indicators. The study synthesizes current trends through a culture?technology?cognition interaction perspective and notes limitations related to database scope and language coverage.

The aim of this paper is to expand upon previous research into the country of origin effect through the use of empirical data by formulating an analysis method which allows the measurement of the extent of country of origin effect by the proxy of K-pop musicians associated with country of origin image and to propose an alternative framework which provides an explanation as to the discrepancies between empirical data and prior research. Our analysis results reveal that the impact of country of origin associated with ‘PSY’ and ‘BTS’ on the automobile sales of ‘Hyundai Sonata’ was significant in the U.S. market. An asymmetric country of origin effect was found vis-a-vis American and Japanese brands.

This paper examines “home” and “ homma ” in K-pop fandom, which mean fan sites and fan site managers respectively. Most K-pop fans, like other popular culture fans, enjoyphotographingor filmingtheir favorite musicians. Some fans, takinghighqualitypicturesof K-popstarswithprofessional cameras,share these photos through their own websites, also known as “homes.” These fans, commonly nicknamed as “ homma s,” and their photography are widely recognized in fandom as many other fans visit the homes to appreciate and download the good photos. However, hommas are frequently stigmatized just as paparazzi both withinandoutside of fandomsincetheyfollowK-popstars’ everymove at everycorner─rangingfromthe stars’ live performances at concert hallstotheir arrival and departure at airports─to shoot more photographs. The first objective of this paper is to challenge this negative bias against hommas. For this objective, the paper first describes how K-pop fans engage in not only shooting but also producing and consuming fan merchandise in addition to the consumption of K-pop officialgoodsproducedandsoldbyK-poplabels.Thispaperalsodemonstrateshowthesephotograph-relatedfanpracticesespeciallyathomescanshapeaformof variousculturesand/orsubculturesintheK-popscene.ThepaperthenclaimsthataK-popfan’shomefunctionsasa“blackmarket,”analternativemarketoutside of officially certified producers or sellers, as well as that a homma serves as an inclusive cultural producer embracing a photographer, editor, webmaster, seller, supporter,andinvestorinK-popfandom.

The purpose of this paper is to investigate the virtuosity of K-pop through arts and culture education. The popularity of K-pop idol groups stemmed from their virtuoso dance and vocal performances but also their carefully constructed visual presentation or style?make-up, clothes, facial expressions, mood, physique and attitude. For instance, Korean cuteness (aegyo) gradually embedded itself in their attitudes and behaviours. Such training occurred within specific regimes run by the entertainment companies. Through the arts and culture education by the entertainment company, the trainee idols were thus indirectly, yet deliberately, ‘taught’ aegyo, through learning how to adopt specific facial expressions, hand gestures, body postures, manners and behavioural styles, and through the process of constructing their individual stage personae. The virtuosity of K-pop through the arts and culture education was examined by the tree aspects; training camp system, One Source Multi-Use (OSMU) strategy and an aesthetic style of aegyo. Through, a music video ‘Gee’ (2009) by K-pop idol group Girls’ Generation, this paper further examined how aegyo has made possible a produced form within K-pop idols’ virtuosity through the arts and culture education.

This paper is an attempt to understand the explosive consumption of South Korean cultural exports in Asia, and its reproduction in South Korea. The more commonly available explanations about the success of Hallyu, which cannot adequately explain why Hallyu has taken Asia by storm while popular cultures from other Asian nations have not, include the following: (1) cultural proximity; (2) common historical and cultural legacy; (3) common 20th century experience of rapid industrialization in the region; (4) rapid increase in intra?regional trade, investment, tourism, etc.; and (5) the development of information technology (IT) industry and other modern industries in South Korea. We offer three alternative scenarios to help explain Hallyu’s success using global and local cultural explanations. First, Hallyu is analyzed from the perspective of an alternative form of globalization of culture from the South implying the diversification of world cultures. Neither rejecting nor reacting to the dominant cultures of the West, we postulate that Hallyu is more an alternative and revision of the US?dominated cultural globalization. Second, taking a more region?bound perspective, we analyze whether Asia’s history of colonialism and the fight for supremacy between two regional super powers ─i.e., Japan and China ─, have led South Korea to become a more palatable cultural hegemon in the region. Third, the paper uses the Korean concept of “Hanp’uri” (dissolution of “Han”) to understand how Hallyu has been embraced in South Korea as a source of national pride and helped its reproduction. Finally, we argue that the future of Hallyu will rest on whether it can become identified as a new world culture with distinct traits of its own and enrich the world’s cultural scene.

본 연구는 K-pop 팬들의 온라인 활동 내용과 활동의 정도를 실증적으로 측정하는 것을 목적으로 한다. 연구목적 달성을 위해 먼저 K-pop 아티스트에 대한 팬 애착도에 영향을 주는 주요 온라인 활동들을 탐색하였으며, 나아가 해당 온라인 활동들의 상대적 중요성을 도출하였다. 이를 통해 궁극적으로 K-pop 팬 온라인 활동지수(KOAI: K-pop fans' Online Activity Index)를 개발하였고 개별 응답자들의 KOAI를 실증적으로 측정하였다. 연구결과 K-pop 팬 온라인 활동지수(KOAI)는 팬클럽 가입 여부, V live+ 유료시청 여부, 아티스트 관련 VOD 시청 여부, 팬클럽에 글을 쓰는 정도, 아티스트의 가치를 높이기 위해 관련 유튜브를 보는 정도 등 K-pop 팬들의 다섯 가지 온라인 활동으로 구성됨을 알 수 있었다. 본 연구는 K-pop 마케터로 하여금 팬 반응을 얻기 위한 다양한 온라인 활동에 마케팅 자원을 보다 효율적이고 효과적으로 배분할 수 있는 기준을 제공함으로써 마케팅 성과를 높이게 하였다는 데 실무적 의의가 있다. 또한 K-pop 팬들의 온라인 행동을 이해하기 위한 학문적 지식 축적에 기여가 있다.

This study aims to empirically measure K-pop fans' content and the extent of online activities. To achieve the purpose of the study, the researchers identify the statistically significant online activities that determine the intensity of fan attachment toward K-pop artists. Further, the research confirms the relative importance of various meaningful online activities. Consequently, we can develop the K-pop Online Activity Index (KOAI) model and apply it to this index model empirically for each respondent. We found that the model consists of five online activities of K-pop fans: whether joining the fan club or not, whether paying per view V live+ or not, whether watching VODs associated with artists or not, the degree of fan club writing, the degree of watching a lot on YouTube to improve the value of my artists. This study has practical significance in that it allows K-pop marketers to improve their marketing performance by providing content that will enable them to more efficiently and effectively allocate marketing resources to various online activities to get fan responses. It allows accumulating academic knowledge to understand the behavior in the field of online behavior for K-pop fans.

The penetration of K-Pop in Brazil has occurred in tandem with the unfolding of a process of social mobility in the country. The fans which K-Pop attracts in the country mostly stem from families who are part of this process of social mobility. K-Pop somehow resonates with these young people in search of a new social position, as their place in society is no longer that of their parents or grandparents. The brave new world that K-Pop offers may appeal to them especially as an index of future of upward mobility, glamour and consumption. K-Pop is itself the result of South Korean compressed modernity and its Brazilian fans have themselves been undergoing a process of social change in the past ten years. The relation between the latter process and the diffusion of K-Pop in the South American country is the focus of this article. K-Pop in Brazil is approached as a class-based and gendered phenomenon, which mobilizes a dream of society and lifestyle.

The rise of K-pop (Korean pop) as a new global music genre has wrought theoretical turmoil within the field of cultural studies. This article argues that the global ascendance of K-pop can primarily be attributed to the passionate support of inter-Asian audiences. However, the actual production, performance, and dissemination of K-pop contents have little to do with the Asian pop-culture system. Although the manufacture of K-pop music and its performers depends on Korean talent and management, K-pop producers tend to rely heavily on the global music industries of North America and Europe for their creative content. The global dissemination of K-pop would not have been possible without global social network service (SNS) sites such as YouTube, Facebook, and Twitter?none of which are owned or operated by Asians. This article argues that the manufacturing of creativity in non-Western music, as illustrated by the case of Hallyu, involves three stages: globalization of creativity, localization of musical contents and performers, and global dissemination of the musical contents through social media.

Sociological studies of the music industry emphasize the importance of mass media technologies in the birth of a new popular music genre. However, these studies have not fully explained the business structure of new media and new popular music. They also failed to predict K-pop’s global success via YouTube and iTunes. The emergence of Internet-based music stores and music video streaming sites, particularly YouTube, has a strong connection to Korean content as it allows Korean artists to bypass conventional music distributors who control business-to-customer music distribution channels in the United States and Europe. The emergence of the digital economy powered by PCs and smartphones, ushered in a new era of business-to-business music distribution, thus minimizing transaction costs of the global music business for Korean entertainment firms. This article argues that K-pop producers, with no alternative channels for distributing their music to global audiences for profit, actively chose YouTube for its free music distribution despite its low-profit margins from royalty fees. J-pop and American pop music distributors, however, avoided YouTube because the profit margin from YouTube was far lower than from traditional media, such as CDs and iTunes, giving K-pop primary standing in the niche market.

본 연구는 여성결혼이민자 대상으로 K-POP 커버댄스를 실시, 자아존중감과 사회적지지에 따른 문화적응스트레스 및 우울에 미치는 영향을 분석하여 여성결혼이민자의 사회관계 개선 및 정신건강 증진을 위한 기초자료를 제공하고자 하였다. 20~30대 여성결혼이민자를 모집, 사전검사의 자아존중감과 사회적지지에 따라 정도가 높은 그룹 HSS(High Self-esteem & Social Support)와 낮은 그룹 LSS(Low Self-esteem & Social Support)로 각 25명씩 임의배정하였고, 사전검사, 6주차, 12주차, 총 3회 설문조사를 실시하였다. K-POP 커버댄스(60분, 주 3회, 12주간) 참여에 따른 여성결혼이민자의 자아존중감은 HSS, LSS 두 그룹 모두 참여 기간이 길수록 향상되었고, LSS 그룹이 6주후부터 더 크게 향상되었다. 사회적지지는 HSS는 6주후부터, LSS는 12주 후부터 감소하였고, 문화적응스트레스는 HSS, LSS 모두 6주후, 12주후 지속 감소, LSS 그룹이 더 크게 감소하였다. 우울은 HSS, LSS 두 그룹 모두 참여 기간이 길수록 감소, LSS 그룹이 6주후부터 더 크게 감소하였다. 따라서 K-POP 커버댄스는 여성결혼이민자를 위한 자아존중감, 사회적지지 향상과 문화적응스트레스 및 우울 감소에 효과적인 여가활동 프로그램이 될 수 있을 것으로 생각된다.

This study conducted K-POP cover dance for female marriage immigrants, and analyzed the effects of Self-esteem and social support on acculturation stress and depression to provide basic data for improving social relationships and promoting mental health of female marriage immigrants. Female marriage immigrants in their 20s and 30s were recruited, and 25 people each were randomly assigned to a high Self-esteem and social support group (HSS) and a low Self-esteem & social support group (LSS) according to the Self-esteem and social support of the pre-test, a total of 3 surveys were conducted, pre-test, after 6 weeks, after 12 weeks. The Self-esteem of female marriage immigrants following K-POP cover dance(60 minutes, 3 times a week, for 12 weeks) participation improved as the participation period in both HSS and LSS groups increased, and the LSS group improved significantly after 6 weeks. Social support decreased after 6 weeks in HSS and 12 weeks in LSS, The acculturation stress continued to decrease after 6 weeks and after 12 weeks in both HSS and LSS, and the LSS group decreased more significantly. Depression in both HSS and LSS groups decreased as the participation period increased, and the LSS group decreased significantly after 6 weeks. K-POP cover dance is thought to be an effective leisure activity program for female marriage immigrants to improve Self-esteem and social support, and to reduce acculturation stress and depression.

Cyber-nationalism in China which has become more salient over the last decade is a major factor that contributes to increasing anti-Korean sentiments in China. By interviewing 20 Chinese K-Pop fans, this study explores how Chinese K-Pop fandoms display and construct their nationalism and how they negotiate their love for Korean idols and their homeland China. Once criticized as unpatriotic, K-pop fandoms declare their hated towards Korea and stay vigilant about Korean stars’ political speech to rationalize their fanship of Korean stars. This phenomenon reflects strong nationalism of Chinese fans that mediate their consumption of K-Pop.