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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.

This paper examines the K-pop virtual idol group PLAVE as a diagnostic case for understanding K-pop’s logics of authenticity, fandom labor, and visibility. Drawing on topic modeling of over 150,000 YouTube comments, supported by close readings of fan discourse and platform behavior, the study proceeds in three movements. It first shows how PLAVE’s avatar-based performances generate affective resonance despite ontological ambiguity, with fans recalibrating authenticity through emotional response, interpretive labor, and collective meaning-making?foregrounding sincerity over physical presence. It then examines the challenges this mode of authentication produces, from controversies over generative AI imagery to tensions around cultural legibility and global visibility. Finally, situating PLAVE within debates on techno-orientalism, post-human performance, and K-pop’s shifting global dynamics, the paper argues that PLAVE does not rupture K-pop’s logic but intensifies its core mechanisms. Their abstraction, moral entanglement, and narrative insulation reveal K-pop’s dependence on emotional legibility rather than bodily visibility. PLAVE thus serves not as a novelty, but as a crystallization of the industry’s present condition?where belief is no longer anchored in sight, but in shared affective structure.

The study analyzes the purchase intentions of overseas Hallyu (Korean Wave) consumers and their impact on exports using survey data and export data from 2013 to 2021 in nine countries. We investigate consumer intentions to purchase Korean products such as cosmetics, smartphones, and clothing, especially when foreign consumers associate K-pop-related items with their initial perceptions of Korea. It analyzes respondents by age, education level, and gender, and the overall intent-to-purchase results are positive. We also look at whether geographical proximity affects purchase intentions. The results show that the overall purchasing intention of Asian countries is high, but a positive increase in overall purchasing inclination is observed across both Asian and non-Asian nations. In the analysis of export impact, increased recognition of K-pop has a positive effect not only on the export of culture-related products but also on non-culture-related products. Consequently, with the heightened recognition of K-pop as a form of soft power, its positive influence increases Korean cultural product purchase intention and also impacts the export of non-cultural products.

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.

This paper aims to determine why Chilean fans of K-pop enjoy the incompatible aesthetics of K-pop idols. It will analyze the variation of the ideal of beauty according to socioeconomic level in Chile and fans’ perception of the beauty canons of K-pop. Hypothesizing that the relationship between race (rather skin color) and class in Chile affects K-pop consumption, this study will delve into why the canon of beauty attracts Chilean fans, despite the contrast that exists with the Chilean canon of male beauty. Latin American culture is constituted by sexual roles marked and determined by gender (Cristian Valenzuela 2015); these roles perpetuate male superiority based on the figure of the male. Specifically, the hegemonic masculinity present in the region stands out for having such characteristics as strength, rationality, seriousness, domination, hetero- sexuality, and sexual activity. Asians are often called Chino, and K-pop fans are considered strange. Though Chileans tend to conflate all Asian pop cultures, they are particularly suspicious of the sexual identity of K-pop fans. Based on a qualitative analysis of semi-structured interviews with sixteen upper-class and twenty middle-lower- class Chileans, this paper investigates how Chilean K-pop fans consume and negotiate with the aesthetics of K-pop in a conservative, European-oriented, oligarchic society.

The Korean Wave, or Hallyu, is no longer simply a new phenomenon or an unusual surge in the cultural market. We argue that it is instead a cultural trend and environment with substantial influence among youth outside of Korea, and that it has the transformative power of (re)shaping Korean identity among young diaspora Koreans. Drawing upon the literature of diasporic identity construction, we explore the impact of the Korean Wave on the construction of Korean identity among Korean-Kazakhstani youth. The present article examines how young Korean Kazakhstanis interpret K-pop in relation with their selfidentity as Korean. Our qualitative analysis of a focus group exhibits that the current trend of K-pop in Kazakhstan not only involves the consumption of a cultural product, but also serves as stimuli for young diaspora Koreans to reflect upon their identity. Using Cohen’s (2004) framework for diasporic identity, we find that Korean-Kazakhstani youths interpret K-pop in a universal sense as well as in cultural and biological terms. The popularity of K-pop among local consumers in Kazakhstan has a transformative influence on young members of the Korean diaspora, as the Korean Wave has positively changed people’s perceptions of Korea in general.

In 2016, the Korean drama, “The Descendants of the Sun” reached 38.8% rating in Korea. In China, it was streamed simultaneously on iQIYI and recorded over 2.7 billion views. This drama is a good example of Hallyu, a phenomenon which have been around for 20 years. Many say that Hallyu started when What is Love all about? aired in CCTV in 1997. Following the popularity of Korean Dramas, K-Pop (Korean Pop Music) started to gain recognition. Notably, the boy group H.O.T. performed at sold-out concert in Beijing in February 2000. Super Junior, Big Bang and EXO have over 10 million combined followers in the social network site nowadays. Hallyu had number of positive impacts both culturally and economically on Korea. Reviewing the history of the Hallyu especially K-Pop, the number of success factors were studied. Some scholars used the model to evaluate the national advantage while other scholars used cultural diamond to evaluate production and consumption aspects. All of the studies have legitimate findings, but other aspects including external environment and customer centric market needed to be also taken into consideration. In this article, 4C marketing mix which fits better with online focused environment was used to evaluate K-Pop in customer centric market while number of external issues were reviewed. Further the importance of understanding the global fans was stressed to contemplate about regional strategy moving on. Finally, critical elements for future success of Hallyu and K-Pop were suggested.

이 글의 목적은 미디어 지구화의 최근 논의들에서 K-Pop의 지구화를 설명할 수 있는 새로운 분석틀을 모색하는 데 있다. K-Pop으로 대표되는 한류의 최근 변화는 기존 한류 연구의 일면적인 - 아시아 중심적, 매스미디어 중심적, 국가 중심적, 장소 중심적, 생산 또는 수용 지향적 - 한계를 부각시키고 있다. 따라서 이 글은 한류 현상을 제대로 이해하기 위해서는 글로벌과 로컬, 문화생산과 수용 과정을 통합적으로 고려하는 새로운 접근이 필요하다고 주장한다. 이를 위해 문화경제지리학, 대중문화연구, 참여문화 등의 이론적 시각에서 글로벌 음악 산업의 특징과 변화를 살펴보고, 이러한 변화의 문맥에 K-Pop의 지구화 과정을 위치지울 수 있는지에 대해 검토한다. 그리고 이론적 논의와 음악 산업의 변화에 대한 검토에 근거해 K-Pop의 지구화를 통합적으로 설명하기 위한 가설적 분석틀을 제시한다.

This paper tries to build an integrative analytical framework for understanding media globalization with a case of K-Pop. It draws on the emerging theoretical discussions in cultural economic geography, new mobilities paradigm, the scene perspective and participatory culture. This framework can be employed as an alternative to the existing perspectives in analyzing the Korean Wave since it better accommodates the technological, economic and social changes, such as increasing use of global social media in the marketing and consumption of K-Pop and unexpected expansion of K-Pop fandom beyond Asia. We propose an exploratory model for understanding why and how K-Pop has been globalized. Most importantly, our framework integrates the processes of media production and consumption.

본 연구는 온라인 동영상 플랫폼에 적용되는 추천 알고리듬을 이해하고자 유튜브에서 K-pop 뮤직비디오의 콘텐츠 특성과 재생 시 추천되는 연관 비디오(related video)의 관계를 규명하고 네트워크 분석을 통해 어떤 비디오가 연관 비디오로 추천되는지 살펴보았다. 분석 결과, K-pop 재생 시 비디오의 좋아요 수가 추천 순위에 영향을 주었으며 대부분 같은 채널에 속하거나 동일한 기획사에서 제작한 비디오가 연관 비디오로 추천되었다. 그리고 연관 비디오의 네트워크 분석 결과, K-pop 뮤직비디오의 네트워크가 강하게 형성되어 있으며 연관 비디오의 네트워크 분석에서 BTS의 뮤직비디오가 중심성이 높게 나타났다. 이러한 연구결과는 K-pop간의 네트워크가 강하기 때문에 K-pop을 검색 쿼리로 입력해서 비디오를 시청할 때는 연속적으로 K-pop을 즐길 수 있지만, 반대로 다른 장르의 비디오를 시청할 때는 K-pop이 연관 비디오로 추천되지 못할 수 있음을 의미한다.

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.