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Journal articles on the topic 'Korean new wave'

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Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Park, Jae Kyung. "Korean Wave Content’s diversification Strategy Model for the New Korean Wave Transition." Institute for Future Growth 4 (December 30, 2018): 55–78. http://dx.doi.org/10.29143/kuifg.2018.4.1.55.

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2

Yecies, Brian, Ae-Gyung Shim, and Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema." Media International Australia 141, no. 1 (November 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.

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Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starring in films made in other countries. Korea has hosted major international industry events. These milestones have facilitated an unprecedented international expansion of the Korean film industry. With the advent of the ‘digital wave’ in Korea – the film industry's transition to digital production practices – this expansion has accelerated. Korean film agencies – the pillars of the national cinema – have played important parts in this internationalisation, particularly in promoting Korean films and filmmakers outside Korea and in facilitating international events in Korea itself. Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses working outside official channels. That is, they are often better understood as ‘transnational’ rather than ‘national’ or ‘international’ projects. In this article, we focus on a range of collaborations involving Korean, Australian, New Zealand and Chinese filmmakers and firms. These collaborations highlight some of the forces that have shaped the digital wave in the Korean film industry, and illustrate the increasingly influential role that the digital expertise of Korean filmmakers is playing in film industries, both regionally and around the world.

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3

Parc, Jimmyn, and Moon Hwy-Chang. "Korean Dramas and Films: Key Factors for Their International Competitiveness." Asian Journal of Social Science 41, no. 2 (2013): 126–49. http://dx.doi.org/10.1163/15685314-12341295.

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Abstract The Korean wave, which is the popularity of Korean entertainment outside Korea, is a fairly new phenomenon. Encompassing Korean dramas, films, and songs, it has been highlighted by international media outlets and scholars. Several prestigious newspapers and scholars attempted to explain the competitiveness of the Korean wave, but they have remained biased by missing, overemphasizing, or overlapping important success factors. To provide a more comprehensive and accurate analysis, this paper conducts a rigorous study on the competitiveness of Korean entertainment industry focused on Korean dramas and films with a comprehensive analytical tool, the generalized double diamond model. The results of this study provide evidences that the Korean wave is not a temporary phenomenon but a sustainable industry segment. For further enhancement of this important industry, this paper suggests useful implications, including international cooperation with other countries.

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4

Huang, Shuling. "Social media and the new Korean Wave." Media, Culture & Society 39, no. 5 (April 28, 2017): 773–77. http://dx.doi.org/10.1177/0163443717707344.

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5

Jung, Jimin. "A Historical Consideration into Two Perspectives on Culture Revealed in the New Korean Wave Discourse." International Journal of Social Science and Humanity 5, no. 8 (2015): 730–34. http://dx.doi.org/10.7763/ijssh.2015.v5.548.

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6

Asrori, Yuni Wachid, and Supriadianto Supriadianto. "Hallyu dan Pengaruhnya pada Perkembangan Objek Wisata Tematik Korea Selatan." Jurnal Pariwisata Terapan 3, no. 1 (March 3, 2019): 76. http://dx.doi.org/10.22146/jpt.49278.

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Korean Pop phenomenon, Hallyu, affect to the development of various tourism objects in Seoul and South Korea in general. Hallyu as a new wave is popular among young generations, not only as an entertainment, but also as tourist attraction in South Korea. This phenomenon increased number of travelers to South Korea year by year. This descriptive research analyze qualitatively several tourism objects well known as shooting site of several popular Korean dramas where travelers may experience several things related to Korean dramas. There are not only K-Pop experiences that make Korean tourism popularity increasing rapidly, but also the government rules have also been paving the important way to promote and develop Korean tourism destinations

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7

Jin, Byoungho, Heesoon Yang, and Naeun Kim. "Prototypical brands and cultural influences." Management Decision 57, no. 11 (November 12, 2019): 3159–76. http://dx.doi.org/10.1108/md-01-2018-0057.

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Purpose To extend the understanding of country image to the country whose image is less distinctive, the purpose of this paper is to examine two salient factors: one country’s prototypical brand and its cultural influence (i.e. Korean Wave) on shaping the country’s image in the context of Korea and its subsequent impact on product evaluation and purchase intention. Built on the prototype and schema theories, a research framework is proposed and empirically tested on two product categories (cosmetics and tires). Design/methodology/approach Data were collected from US consumers ages 20 and older and analyzed using structural equation modeling. Findings The findings largely supported the proposed framework with two additional paths (Korean Wave to product quality and Korean Wave to purchase intention). In both product categories, the findings confirmed that the image transfers from the prototypical brands (e.g. Samsung) to the country image (i.e., Korea), from Korean Wave to country image, and from the macro country image to the micro country image. The influence of the prototypical brand image was greater than that of the Korean Wave. However, some differences were found across product categories; the positive impact of the macro image on product quality evaluation was supported only for tires, not in the case of the cosmetics. The path from the Korean Wave to product quality evaluation was significant only for the cosmetics, and not for the tires. Originality/value These findings provided new theoretical perspectives for country image studies, and practical insights for companies, especially in countries whose image is less distinctive, to help develop effective marketing strategies in different product categories.

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8

Fella, Shani, and Fitri Murfianti. "Wacana Drama Korea dalam Iklan Sprite Versi “Kenyataan Gak Kayak Drama Korea”." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 2 (March 31, 2020): 57–69. http://dx.doi.org/10.33153/dewaruci.v14i2.2705.

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The development of the Hallyu, or Korean Wave, has an impact on product advertising in Indonesia, which uses many actors and discourses brought from Korean culture.Starting from this it turns out that growing questions about the possibility of Korean Wave can shape new consumption interests and behaviors that have an interest in Korea. The study, entitled Korean Drama Discourse in the Sprite ad version “Kenyataan Gak Kayak Drama Korea” is an advertisement for Sprite beverage products identified using Korean drama discourse with humor at the end of the story. The research method used is descriptive qualitative research supported by a theoretical basis, namely the structure of advertising discourse to dismantle Korean drama discourse on the Sprite advertisement version “Kenyataan Gak Kayak Drama Korea” using the concept of fashion as communication and storyline and location settings to be peeled off per scene advertisement. The discourse structure of advertising in this study will be explained in three parts, namely the main items of advertising, advertising agencies and closing advertisements. The results of this study indicate that in the version of the Sprite advertisement “Kenyataan Gak Kayak Drama Korea” there is a Korean drama discourse displayed on the advertising body, which functions as an advertisement explanatory item that is a message from a Sprite advertisement that "Nyatanya Nyegerin" can be well received by prospective customers.

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9

Shiau, Hong-Chi. "‘Little New Meat’ and ‘Korean Warm Men’: Performance of regional heterosexual masculinities among Taiwanese millennials." East Asian Journal of Popular Culture 6, no. 1 (April 1, 2020): 45–58. http://dx.doi.org/10.1386/eapc_00014_1.

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Much of the academic research on the Korean Wave has focused on transcultural hybridity, with little analysis of how the Korean Wave has challenged and reshaped the site of heterosexual masculinities among millennials. Through ethnographic and focus-group interviews, this article explicates how Taiwanese masculinities have been negotiated and constructed in response to the Korean Wave, based on both Taiwan and Korea sharing a Confucian culture that emphasizes diligence and responsibility, and the popularity of refined and sophisticated men as male role models. These localized influences have compromised the ‘hegemonic masculinity’ in the West. Various contradictory attributes of Taiwanese masculinity interact with one another, but this article elicits three themes: soft/‘wen’ masculinity, a sculptured by not excessively muscular body and male-bonding. The results illustrate how the boundaries between hegemonic and marginalized forms of masculinities in Taiwan, similar to in the West, are often more interactive than oppositional. While there are contradictory attributes respond to one another, this article illuminates how a dominant form of Taiwanese masculinities prevails among the Taiwanese male millennials. Ultimately, consumerism has significantly influenced the construction of masculinity and led to diversity in masculine discourse.

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Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.

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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.

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Et al., HO-WOOG KIM. "Medical Hallyu In Mongolia: A Case Study Of Dr. Kwan-Tae Park’s Spirituality And Medical Service." Psychology and Education Journal 58, no. 1 (January 15, 2021): 4821–32. http://dx.doi.org/10.17762/pae.v58i1.1643.

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Since the establishment of diplomatic relations between South Korea and Mongolia in 1990, Hallyu (the Korean Wave) has rapidly spread to Mongolia. Korean food and medicine, as well as Korean drama and pop music, are welcomed by Mongolians. The purpose of this study is to examine the influence of Korean medical service on Mongolia, focusing on the Korean medical missionary Kwan-tae Park. We will show that his excellent human relationship as a reason for his fruit-bearing ministry in the Mongolian society, which is somewhat unfriendly to aggressive Christian evangelism. In conclusion, we will argue that his ministry is imitating Jesus' life presented by the New Testament in a large framework.

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12

Jang, Gunjoo, and Won K. Paik. "Korean Wave as Tool for Korea’s New Cultural Diplomacy." Advances in Applied Sociology 02, no. 03 (2012): 196–202. http://dx.doi.org/10.4236/aasoci.2012.23026.

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13

Mulyaman, Darynaufal, Asra Virgianita, and Darang Sahdana Candra. "The Perception of Cia-Cia Tribe Students in Southeast Sulawesi Toward South Korea: The Case of Education Aid for Cia-Cia Language Preservation." Jurnal Global & Strategis 15, no. 1 (March 29, 2021): 187. http://dx.doi.org/10.20473/jgs.15.1.2021.187-217.

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Since the beginning of the "Korean Wave" in the 2010s, Korean language and the Hangeul alphabet are integral parts in the dissemination of South Korea's soft power across the world. For instances, the South Korean government provided support for the preservation of Cia-Cia language of Cia-Cia ethnic group in Bau-Bau, Southeast Sulawesi, Indonesia - a program that was originally initiated by Hunminjeongeum Society Foundation in 2008. This study examines the perception of students with Cia-Cia ethnic background toward South Korea. Questionnaire surveys and interviews are used to further look into their perceptions. This study, that started from a thesis, finds that the students who participated in the program have positive perceptions of South Korea. Furthermore, the demonstration of Korean culture and the use of Korean language become more apparent in the students’ daily life, creating a new social reality in the local community. Such finding suggests that international assistance has effectively become a part of South Korea's soft power expansion strategy.Keywords: Cia-Cia, Language, Foreign Aid, Korea, PerceptionSejak merebaknya "Korean Wave" pada dekade 2010-an, Bahasa Korea dan Aksara Hangeul adalah bagian integral dalam penyebaran soft power Korea Selatan di seluruh dunia. Pemerintah Korea Selatan, misalnya, memberikan dukungan untuk pelestarian bahasa Cia-Cia dari Suku Cia-Cia di Bau-Bau Sulawesi Tenggara, Indonesia - sebuah program yang awalnya diprakarsai oleh Yayasan Hunminjonggeum Society pada tahun 2008. Studi ini mengukur persepsi siswa dengan latar belakang etnis Cia-Cia terhadap Korea Selatan. Survei kuesioner dan wawancara digunakan untuk melihat lebih jauh persepsi mereka. Studi ini berangkat dari tesis yang dilakukan dan menemukan bahwa siswa-siswa yang terlibat dalam program tersebut memiliki persepsi yang positif tentang Korea Selatan. Selain itu, peragaan budaya Korea dan penggunaan Bahasa Korea menjadi lebih jelas dalam kehidupan sehari-hari siswa-siswa tersebut sehingga menciptakan realitas sosial baru di komunitas lokal. Temuan tersebut menunjukkan bahwa bantuan internasional dapat dan telah secara efektif digunakan sebagai strategi ekspansi soft power Korea Selatan. Kata-kata Kunci: Cia-Cia, Bahasa, Bantuan Luar Negeri, Korea, Persepsi

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14

SORNSUWANNASRI, Sayamon. "MOTIVATION INFLUENCING DECISION TO LEARN KOREAN LANGUAGE AMONG CHIANG MAI UNIVERSITY STUDENTS." International Journal of Korean Humanities and Social Sciences 6 (December 30, 2020): 7–36. http://dx.doi.org/10.14746/kr.2020.06.01.

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This research aims to investigate motivation that influences Chiang Mai University students’ decision to learn the Korean language. A questionnaire is conducted on the students’ motivation behind their decision to learn the Korean language and their expectations for Korean language learning after graduation. Respondents are 102 students studying Korean as elective courses or minor subjects. The results reveal that the type of motivation that has the highest influence over their Korean language learning is self-motivation, and they are also motivated by curriculum and institutes, the ‘Korean Wave’ and the society, defined as social motivation, respectively. Their highest post-graduation expectation for Korean language learning is the ability to converse fluently with Korean people, while the ability to understand Korean songs/dramas/variety programs, the ability to understand Korean society and culture, the ability to get a job using the Korean language, the opportunity to study in South Korea and the opportunity to have new friends are the next highest expectations successively.

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15

HyoIn Yi. "Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s." Korea Journal 59, no. 4 (December 2019): 78–102. http://dx.doi.org/10.25024/kj.2019.59.4.78.

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16

Potapova, N. A. "The Korean diaspora in the USSR in the 1930s." BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 135, no. 2 (2021): 48–62. http://dx.doi.org/10.32523/2616-7255-2021-135-2-48-62.

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The article is devoted to the so-called Korean problem in the Soviet Union and ways to find ways to solve it. The Bolsheviks inherited from the Russian Empire the unresolved issue of active settlement of the Far East by Koreans. The migration from Japanese Korea was massive and uncontrolled. Unlike the Chinese, who settled all over the Soviet Union, Koreans settled compactly in the far eastern region. According to the 1937 census, the diaspora in the USSR numbered about 200,000 people. Since the 1920s, the Bolshevik government has attempted to solve the Korean question in the country, including repression of the diaspora. However, the Bolsheviks resorted to drastic and decisive measures in the 1930s. At this time, persecution of the Korean population increased. The main reason for persecution was the desire of the Bolshevik government to rid the country of «unreliable» and «dangerous» elements. The repression of Koreans in the 1930s can be divided into two stages. The first stage covers the period from the beginning of the new decade to the summer of 1937. This period is characterized by sporadic arrests of the Korean population, with the peak of persecution being in 1931- 1932 due to the occupation of Manchuria by Japan and, consequently, a new wave of the Korean population emerged in the Soviet Far East. The Japanese military threat was the main reason for the Bolshevik government to look for foreign spies and agents in the USSR, and the population living in territories occupied by Japan and ending up in the Soviet Union were charged with Japanese espionage. The Koreans therefore became a category of the so-called fifth column. The targeted repressions in the first half of the 1930s were replaced by mass punitive actions in the second half of the 1930s, which reached their peak in 1937-1938. The repression of Koreans in 1937- 1938 comprised conditionally two punitive campaigns. The first campaign was the deportation of far eastern Koreans to Kazakhstan and Uzbekistan. The second was the arrests and convictions of the Korean population during the period of the Great Terror as part of the mass operations of the NKVD (The People’s Commissariat for Internal Affairs ), particularly the «Harbin» operation. Before 1937-1938, arrests and convictions of Koreans ranged in the hundreds. Thus, for example, in 1933 213 persons were convicted of espionage, in 1934 - 104, in 1935 - 200. During the period of the Big Terror only under the order No.00593 there were convicted about 5 thousand Koreans.

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Xu, Weiai Wayne, Ji Young Park, and Han Woo Park. "The networked cultural diffusion of Korean wave." Online Information Review 39, no. 1 (February 9, 2015): 43–60. http://dx.doi.org/10.1108/oir-07-2014-0160.

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Purpose – The purpose of this paper is to examine the diffusion of a popular Korean music video on the video-sharing web site YouTube. It applies a webometric approach in the diffusion of innovations framework to study three elements of diffusion in a Web 2.0 environment: users, user-to-user relationship and user-generated comment. Design/methodology/approach – The webometric approach combines profile analyses, social network analyses, semantic and sentiment analyses. Findings – The results show that male users in the US played a dominant role in the early-stage diffusion. The dominant users represented the innovators and early adopters in the evaluation stage of the diffusion, and they engaged in continuous discussions about the cultural origin of the video and expressed criticisms. Overall, the discussion between users varied according to their gender, age, and cultural background. Specifically, male users were more interactive than female users, and users in countries culturally similar to Korea were more likely to express favourable attitudes toward the video. Originality/value – The study provides a webometric approach to examine the Web 2.0-based social system in the early-stage global diffusion of cultural offerings. This approach connects the diffusion of innovations framework to the new context of Web 2.0-based diffusion.

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18

Grytsenko, V. S. ""KOREAN WAVE" IN THE DIALECTIC OF CULTURAL DEVELOPMENT." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 13–17. http://dx.doi.org/10.17721/ucs.2020.1(6).03.

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The article covers the consideration of the "Korean Wave" as one of the manifestations of dialectical laws of culture development. The interpretation of the phenomenon only as a situational model of state cultural policy is refuted through the analysis as an incorrect and unreasonably narrowed understanding. We consider the "Korean Wave"as a variant of the cultural wave, which is a constant element in general processes of cultural development of mankind; we substantiate the grounds for its studying from the point of view of dialectical unity of internal and external factors. We show that the features of its formation and functioning determined by this way have expert ability in the analysis of the processes of culture creation, which are extremely accelerated today. In this connection, essential comprehension of the culture as living organism, caused by spiritual and generic motivations of a man and connected with his continuous self-development, displays its principality. In this sense, the "Korean Wave",a phenomenon of modern stage of culture development, shows itself as its regular stage, connected with its dynamicmorphological features. It displays an example of the cultural wave as a component of general cultural cyclicality, caused by permanent motionfraught with excitationand wavyoutbursts. Every such wave, having its historically specific motivation, is transparent regarding general mechanisms of cultural development. The absence of direct studies of culture dialectics, one component of which is shown by the phenomenon of the cultural wave, is the cause of dominating in modern culture studies of a descriptive factology principle. From the position of understanding the dialectics of general cultural movement, the appearance of a new one, the"Korean Wave"in this case, is a result of complicated multistage processes happening in the public culture body, where quantity is transformed into quality, trends into laws in response to spiritual needs of a man. It completely concerns the "Korean Wave"as well, as in collisions of its appearance, the complicated relations between the old and the new, tradition and situationality, closeness and openness, emotional and rational issues are involved.

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Jin, Dal Yong. "The Digital Korean Wave: Local Online Gaming Goes Global." Media International Australia 141, no. 1 (November 2011): 128–36. http://dx.doi.org/10.1177/1329878x1114100115.

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In the twenty-first century, the Korean wave has been expanding with the growth of digital culture, particularly online gaming. The rapid growth of the Korean online game industry and exports to Western markets have raised the fundamental question of whether digital culture has changed the Korean wave from a regionally focused cultural flow to a Western-focused contra-flow. This article discusses the Korean online gaming industry as an example of contra-flow. It also maps out the process by which local online games are appropriated for Western game users through content hybridisation and glocalisation. Finally, it questions whether this new trend can diminish asymmetrical cultural flows between the West and the East.

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Lee, Chul－Woo, and Sang－Hum Yoon. "The Effects of Korean Wave Perception of the Perceived by Consumers on Repurchase Intention Smartphone: Focusing on New Korean Wave 3.0." Korea Association of Business Education 32, no. 1 (February 24, 2017): 323–52. http://dx.doi.org/10.23839/kabe.2017.32.1.323.

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Wong, Ka Yee Janice. "No More Taboo: Discursive tactics for navigating the taboo of cosmetic surgery." Global Media and China 3, no. 4 (December 2018): 271–96. http://dx.doi.org/10.1177/2059436418816649.

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Traditionally, in many places around the world, cosmetic surgery is is framed as artificial, man-made, and socially unacceptable. The Korean Wave produces K-pop, K-beauty, and K-fashion, the Korean Wave “Hallyu” has spread rapidly across the globe bringing with it new values about the acceptability of cosmetic surgery and what is considered beautiful and desirable. As a result, cosmetic surgery is now a major export for Korea. This study examines how the Korean aesthetic medical industry and how medical tourists from Hong Kong and Mainland China consume Korean culture and promotional material related to aesthetic medical procedures and in some cases overcome deeply held taboos about cosmetic surgery prevalent in Chinese culture. We find that while Hallyu and the prevalence of social media has indeed influenced consumers standards of beauty, both promoters and consumers of Korean aesthetic medicine must actively work to build the discursive resources to overcome both taboos and perceived risks of undertaking such procedures. Some of the risks and taboos that users actively address include the potential medical risk of cosmetic surgery itself, the social acceptance risk (being judged by friends, family, and the community), and existential risk - admitting that one is ugly or unworthy or that one’s identity may change or completely cease to exist after such a procedure.

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Ahn, Jungah. "The New Korean Wave in China: Chinese Users' Use of Korean Popular Culture via the Internet." International Journal of Contents 10, no. 3 (September 28, 2014): 47–54. http://dx.doi.org/10.5392/ijoc.2014.10.3.047.

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Chang, Jungyoon. "New Gender Perspectives: Soft Creator and Strong Advocator in the New Korean Wave Era." Asian Women 36, no. 4 (December 31, 2020): 67–84. http://dx.doi.org/10.14431/aw.2020.12.36.4.67.

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Putri, Maharani, and Sofia Trisni. "Corporate Diplomacy : Peran SM Entertainment melalui New Culture Technology dalam Diplomasi Publik Korea Selatan." Padjadjaran Journal of International Relations 3, no. 1 (January 31, 2021): 73. http://dx.doi.org/10.24198/padjir.v3i1.29391.

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Diplomasi publik merupakan kunci utama dari soft power yang sering digunakan oleh pemerintah berbagai negara di dunia, termasuk Korea Selatan, dalam upaya mencapai kepentingan negaranya dengan memanfaatkan budaya dan aktor swasta. SM Entertainment sebagai salah satu aktor swasta kemudian memberikan kontribusi positif terhadap diserapnya budaya Korea Selatan dengan cepat secara global melalui Korean wave. Penelitian ini menganalisis strategi perusahaan SM Entertainment yang disebut dengan NCT dan hubungannya dengan diplomasi publik yang dilaksanakan oleh Pemerintah Korea Selatan dengan menggunakan konsep corporate diplomacy. Penelitian ini merupakan penelitian kualitatif melalui studi pustaka dengan cara menganalisis aktivitas-aktivitas yang dilakukan oleh SM Entertainment dan melihat di mana kecocokan aktivitas tersebut dengan corporate diplomacy. Penelitian ini menemukan bahwa peran SM Entertainment dalam diplomasi publik Korea Selatan adalah melakukan berbagai kegiatan perusahaan dengan aplikasi strategi New Culture Technology (NCT) dalam aktivitas diplomasi kebudayaan, penanaman modal asing, kegiatan branding (place/nation/destination), pengembangan brand dan produk, serta pelaksanaan Corporate Social Responsibility (CSR).

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YULIAWATI, Dwi Widyaningrum. "REPRESENTATION OF KOREAN TEENAGERS IN INDONESIAN LITERARY WORKS." International Journal of Korean Humanities and Social Sciences 3 (July 8, 2017): 85–103. http://dx.doi.org/10.14746/kr.2017.03.05.

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It can be said that Korean Wave has triggered the appearance of a new chapter in Indonesian literature works, namely the emergence of literature works related to Korea. Indonesian writes all of these fictions and majority featuring Korean, especially Korean teenagers as the character and use Korea related problems as story theme, setting, etc. This paper is discussing how Korean teenagers represented in Indonesian teenage literature works. Representation is meant here is as the depiction or reflection that symbolizes social reality. Of course, reality reflected in a literary work is not always an actual fact, there is frequent a tendency of reality idealized by the author, in this case is Indonesian author’s idealism. From the examination undertaken on Summer in Seoul and Oppa and I: Love Signs teenage fictions showed the following results. Seen from the perspective of adolescence developmental psychology, Korean teenagers are constructed as figure who have had mature personality, who have achieved emotional, moral, social, and intellectual independence. As a member of a family, Korean adolescent represented as a son, daughter, brother, and sister who do not only take responsibility for themselves but also for others. Then from the perspective of their relation with peers group, they are described as teenagers who have been able to expand their social relationships and have also been able to maintain those relationships. Furthermore, within in the context of education, Korean teenagers are described as young people who have been able to draw up a clear plan for the future.

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Park, Kap-Lyong. "A Study on the Korean Wave Trends and New Southern Policy in Southeast Asia : Focusing on The Korean Wave White Paper by the Korea Foundation for International Culture Exchange." Studies of Koreans Abroad 52 (October 31, 2020): 83–120. http://dx.doi.org/10.38184/ask.2020.52.3.

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Soh, Kai, and Brian Yecies. "Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road." Global Media and China 2, no. 1 (March 2017): 74–89. http://dx.doi.org/10.1177/2059436416687105.

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Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and shapes as an important mouthpiece of the Party-state. While media headlines accentuate these progressive pathways, there is a dearth of scholarly commentary on the ways in which Korean film practitioners are contributing to this new era of cultural globalisation in China. To shed light on this emerging topic, the authors examine Chinese audiences’ reception of the Korean film Miss Granny (2014) and the most successful Korean–Chinese co-production to date, its Chinese remake 20 Once Again (2015). The article utilises data drawn from Douban, a major Chinese entertainment and popular culture social networking site, to assess the ‘inconspicuous’ impact of the cinematic component of the Korean Wave on Chinese cinema. In taking this approach, the authors seek to assess the importance of localized film content for Chinese audiences, as well as canvassing a range of hitherto unknown opinions about ‘Korean’ and ‘Chinese’ styles of storytelling.

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Oh, Jung-Eun, Weon-Mu Jeong, Yeon S. Chang, and Sang-Ho Oh. "On the Separation Period Discriminating Gravity and Infragravity Waves off Gyeongpo Beach, Korea." Journal of Marine Science and Engineering 8, no. 3 (March 3, 2020): 167. http://dx.doi.org/10.3390/jmse8030167.

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Although there have been a number of studies investigating fundamental characteristics of infragravity waves in coastal zones, a proper method of deciding period ranges that are associated with gravity or infragravity waves remains uncertain. In this study, we proposed an empirical method of separating spectral energies of gravity and infragravity waves by analyzing the wave observation data acquired off Gyeongpo beach on the Korean east coast. The fundamental principle of the suggested method is to represent the separation period discriminating gravity and infragravity waves as a function of the significant wave period, rather than a fixed value that was conventionally applied in previous studies. As a consequence of using the new method, the relationships between heights and periods of gravity and infragravity waves were more clearly identified.

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Cho, Soon-Kyoung. "South Korea." Work and Occupations 36, no. 2 (May 2009): 162–76. http://dx.doi.org/10.1177/0730888409333757.

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Third-wave marketization in South Korea has changed the social structure of academic knowledge production, revealing the dilemmas and limitations of both traditional and organic public sociology. The emergence of collective intellectuals during the candlelight movement points to an alternative relationship between the researcher and the researched. The candlelight vigils that recently rocked Korean society have pointed to new possibilities for a public sociology of labor. This article discusses the conditions for public labor sociology as a new paradigm based on collective knowledge and argues that when facing increasing professionalization of public sociology, the “crisis of labor” calls for a collective public sociology.

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Oh, David C., and LeiLani Nishime. "Imag(in)ing the post-national television fan: Counter-flows and hybrid ambivalence in Dramaworld." International Communication Gazette 81, no. 2 (October 4, 2018): 121–38. http://dx.doi.org/10.1177/1748048518802913.

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In 2016, Viki.com and Netflix added the web drama Dramaworld to their libraries. The move represents a digital and transnational shift in programming and production. Co-produced by China's Jetavana Entertainment, South Korea's EnterMedia, and the US's Third Culture Content, Dramaworld signals the escalation of post-national television production. The show emerges where the splash of the ‘Korean Wave’ has flowed apart from and against flows of US-mediated domination, creating new possibilities for hybrid media. It simultaneously challenges cultural imperialism with the force of Korean soft power while also constructing the White female fan as the desired audience. This example of transnational co-production uses the global fan to mediate and reconfigure the shifting power relations between the US and Korea, thus providing a window into the ideological work performed by global media.

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Lee, Hyo Joo, Hyun Gyu Oh, and Sung Min Park. "Do Trust and Culture Matter for Public Service Motivation Development? Evidence From Public Sector Employees in Korea." Public Personnel Management 49, no. 2 (August 22, 2019): 290–323. http://dx.doi.org/10.1177/0091026019869738.

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Ethical values and performance have gained importance in the Korean public sector because of the new public management wave and social issues such as corruption. This study examines how the effects of types of organizational culture, such as performance-driven culture and ethics-driven culture, serve as the antecedents of public service motivation (PSM) among central government agencies, public enterprises, and executive agencies in Korea. Furthermore, it investigates how trust in top management affects PSM and how organizational culture moderates this relationship. A survey of 1,216 Korean public employees and seven focus group interviews show that trust in management strongly predicts PSM. Performance-driven culture is positively and significantly associated with norm-based PSM and affective PSM, and ethics-driven culture predicts rational PSM. The moderating effects of organizational culture differ by PSM dimension.

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Kim, Ki-Deog. "The Study for Idol Music as New Korean Wave and Ecosystem Equilibrium of Korean Popular Music Market 2000-2014." Journal of the Korea Contents Association 15, no. 6 (June 28, 2015): 157–67. http://dx.doi.org/10.5392/jkca.2015.15.06.157.

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BAE IL HYUN and 김장현. "An Impact on Korean National Image and Attitude on Korean Product of Japanese Consumer's Perception of New Korean Wave: Focus on K-pop Storm." Journal of Product Research 32, no. 5 (October 2014): 1–9. http://dx.doi.org/10.36345/kacst.2014.32.5.001.

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Jung, Seo-Youn and Ahn Byung Ju. "A Study on Korean Traditional Dance Contents on YouTube in Pursuit of the Sustainable Development of the New Korean Wave." Korean Journal of Dance Studies 46, no. 1 (January 2014): 91–115. http://dx.doi.org/10.16877/kjds.46.1.201401.91.

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Cho, Yong-Ki, and Ki-Bong Yun. "Cultural Approach of Daesoon"s Thought to New Korean Wave and Multi-Cultural Phenomenon." Journal of the Korea Entertainment Industry Association, no. 6 (December 31, 2016): 151. http://dx.doi.org/10.21184/jkeia.2016.12.10.6.151.

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Sun, Meicheng, and Kai Khiun Liew. "Analog Hallyu: Historicizing K-pop formations in China." Global Media and China 4, no. 4 (December 2019): 419–36. http://dx.doi.org/10.1177/2059436419881915.

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This article will revisit the beginnings of the spread of Korean popular entertainment in China in the mid-1990s to early 2000s by examining the contents of previously untapped Chinese language popular entertainment magazines and public recollections on internet forums. Considered here as critical archival resources, the authors argue that these materials are instrumental in offering both new chronologies and insights to the circulatory process of the regionalization of Korean popular cultures or Hallyu. Korean popular music (hereafter K-pop) entered China after the normalization of diplomatic relations between the two countries. Instead of the often singularized, culturalist argument of “shared traditions,” this article offers a more dynamic historiography of the Korean Wave in China that is termed here as “Analog Hallyu.”

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Kim, InSul, and Jongseok Lee. "Culture and Content Industry: An Analysis on New Korean Wave based on Social Capital Perspective." Journal of the Korea Industrial Information Systems Research 17, no. 7 (December 30, 2012): 127–38. http://dx.doi.org/10.9723/jksiis.2012.17.7.127.

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Aulia, Ivy Mahrani, and Mohamad Syahriar Sugandi. "Pengelolaan Kesan Roleplayer K-Pop Melalui Media Sosial Twitter (Studi Dramaturgi Pada Akun Twitter Fandom Di Kota Bandung)." Epigram 17, no. 1 (October 26, 2020): 75–84. http://dx.doi.org/10.32722/epi.v17i1.3367.

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Korean Wave has become a trend in Indonesia, which was started with the high popularity of K-Drama (Korean Drama) back in the 2000s among the Indonesian. Along with the high interest in society, the Korean government kept spreading this Korean wave. In 2011, the Korean music industry, known as K-Pop started to appear and arise a big group; boyband and girlband. Since then, some fandoms or an assemblage of people who puts a high interest in them. The fandom members usually make some activities, one of the activities in the new media is a roleplay.Roleplay is one type of the games on social media played by individuals by acting like him/herself, potraying and imitating the characters that was delivered with how he/she writes status and responds to comments from others. This study focuses on the impression management of K-Pop Roleplayers on social media Twitter with qualitative research methods and dramaturgy approach to the three informants whom are the active Roleplayers on Twitter. Based on the results of the research of K-Pop Roleplayers on social media Twitter to keep and form a positive impression at the front stage is the Timeline. This research was also using the middle stage, Roleplayers perform displacement from Timeline towards more personal media such as direct message and KakaoTalk. As form some of the preparations made by the players at the back stage through was that pre-survey idol character through a variety show on YouTube.

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Jin, Dal Yong. "The Power of the Nation-state amid Neo-liberal Reform: Shifting Cultural Politics in the New Korean Wave." Pacific Affairs 87, no. 1 (March 1, 2014): 71–92. http://dx.doi.org/10.5509/201487171.

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Kim, Yeong Min. "Dynamic Experiments on a 1/4 Scale New-Styled Korean Traditional Wooden House." Applied Mechanics and Materials 598 (July 2014): 743–46. http://dx.doi.org/10.4028/www.scientific.net/amm.598.743.

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This research performed dynamic tests on a 1/4 scale test model of a new-styled Korean traditional wooden house to study its dynamic characteristics. The dynamic tests were performed both by the impact hammer test and the shaking table test of an El-centro N-S seismic wave. Together with these dynamic tests, structural analysis was also performed and the results were compared. The natural frequency from the impact hammer test was slightly higher than that from the shaking table test. The natural frequency from the eigenvalue analysis was about 16~33% lower than that from both the impact hammer test and the shaking table test. It can be deduced that the rotational stiffness of joints of analysis model were somewhat underestimated than those of experiment model.

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정영권. "From Realism to Consumerism -A Social and Cultural History of Korean and British New Wave Cinema-." Contemporary Film Studies 14, no. 3 (August 2018): 177–212. http://dx.doi.org/10.15751/cofis.2018.14.3.177.

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Kim, Hye-Ryeon. "Exploring the Structure of ’Awareness and Needs of Korean Dance’ as New Korean Wave Cultural Contents: Application of Network-based Semantic Network Analysis." Korean Journal of Sports Science 29, no. 4 (August 31, 2020): 921–34. http://dx.doi.org/10.35159/kjss.2020.08.29.4.921.

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Li, Sanggum. "Modern Literature after the 1960s in Korea." International Journal of Area Studies 11, no. 1 (May 1, 2016): 25–37. http://dx.doi.org/10.1515/ijas-2016-0002.

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Abstract Since the beginning of the 1990s in Korea, the category and definition of new generation literature have become the topic of heated debate. One may understand this tendency as ‘generation severance’, ‘alienation between social classes’, or the ‘consumption-oriented culture of the masses’. Here, we call the literary youth born in approximately 1960 ‘the new generation’. In literature, the new generation refers to the appearance of a new culture and way of thinking. This generation passed their childhood in the 1970s and faced no such great difficulties as their parents combating poverty. However, they grew up under the indirect influence of a dark political outlook and suppression. Generally, they have a great affection for the culture produced by mass media. If we compare their development process with the literary stream in Korea, the 1960s could be defined as the era of literature for independence and strong self-awareness, the 1970s as the era for people, the 1980s as the era for the rights or emancipation of labour, and the 1990s as the era of new generation literature. Meanwhile, the appearance of the ‘Korean Wave’, or so-called ‘Hallyu’, has become one of the most beloved popular cultural phenomena both in Asia and in other countries since the late 1990s.

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Cho, Byeong-Gwan, Yongsam Kim, Seunghwan Shin, and Tae-Yeong Koo. "Comparative study of hard X-ray undulator beamline performance in the Korean 4GSR and the PLS-II." Journal of the Korean Physical Society 78, no. 6 (January 19, 2021): 467–75. http://dx.doi.org/10.1007/s40042-021-00062-w.

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AbstractA new light source based on the electron storage ring, dubbed the “diffraction-limited storage ring” (DLSR) to keep the full intrinsic wave nature of X-rays had been proposed since the early stage of storage ring history and has finally been developed successfully, and an upgrade and a new construction programs have now chosen in the worldwide synchrotron facilities. The construction of the so-called “4th generation storage ring” (4GSR), which is a newly-coined term aiming in the same direction, was decided in Korea. The Korean 4GSR is expected to be 10–100 times brighter than the Pohang Light Source-II (PLS-II). Hard X-ray undulator beamlines will benefit from the 4GSR due to its low emittance approaching the diffraction limit. In the PLS-II, more than 10 hard X-ray undulator beamlines are currently in operation. We present a comparative study of the representative hard X-ray undulator beamlines by using the cutting-edge diffraction-spectroscopy techniques in the PLS-II and the 4GSR for better understanding the upcoming light source in Korea. The figures-of-merit of the two specific experimental techniques, resonant inelastic X-ray scattering (RIXS) and resonant X-ray emission spectroscopy (RXES), are discussed for comparison of the two light sources. Both RIXS and RXES are sometimes referred to as a “renaissance” in X-ray science and are, therefore, strongly expected to be adopted in the 4GSR beamlines.

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Howard, Keith. "Youna Kim (ed.): The Korean Wave: Korean Media Go Global. xvi, 233 pp. London and New York: Routledge, 2013. ISBN 978 0 415 71278 1." Bulletin of the School of Oriental and African Studies 77, no. 3 (October 2014): 644–46. http://dx.doi.org/10.1017/s0041977x14000998.

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Oh, Chong Jin, and Soo Hyun Park. "Role of Social Media and Fandom in the New Media era: Focusing on the Korean Wave in Turkey." Culture and the World Review 13, no. 1 (November 30, 2020): 147–87. http://dx.doi.org/10.18327/cwr.2020.11.1.1.147.

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Kim, Sohyoun. "On the Problematics of Ex-sistence of Modernism in the History of Korean Cinema: Notes on the Singularity of Korean New Wave Cinema during the 1990s." Film Studies 85 (September 30, 2020): 383–407. http://dx.doi.org/10.17947/fs.2020.9.85.383.

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48

Lee (李承恩), Claire Seungeun. "Between Institutional Exclusion and Inclusion: Comparing Old and New Chinese Immigrants in South Korea (制度的排斥與包容：在韓國的舊華僑和新華僑之比較)." Translocal Chinese: East Asian Perspectives 11, no. 2 (September 22, 2017): 250–77. http://dx.doi.org/10.1163/24522015-01102005.

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This article explores three Chinese immigrant groups in South Korea. South Korean society characterizes itself with a long-held traditional myth of being a homogenous society. Two waves of migrants from China, however, challenged this myth. The earlier wave took place in the late 19thcentury. The recent, new, wave of Chinese migration took place in the last three decades and coincidently right before and after the normalization of relations between the People’s Republic of China (prc) and South Korea in 1992. Due to the rise of China and the changing dynamics of inter-Asian migration, new migrants from theprcsince the 1990s have changed the demographic composition of foreign citizens in Korea.These new migrants from theprcare mostly ethnic Han (prcChinese), but some are ethnic Korean (Korean Chinese) who holdprccitizenship. Most previous studies have focused on either old (earlier) Chinese immigrants or new (later) Chinese immigrants separately. This paper, in contrast, comparatively investigates these groups utilizing statistics and secondhand source data. This study contends that the mechanisms of institutional exclusion and inclusion in Korean immigration policies, put forward by the policies’ citizenship, legal and economic aspects, produce both new multiculturalism and ethnonationalism. This paper also contends that mechanisms of institutional exclusion and inclusion are a result of the interplay between citizenship and ethnicity.本文對韓國華僑（“舊華僑”）、持中國國籍的中國大陸漢族和朝鮮族（“新華僑”）進行比較。長久以來，在韓國社會裡“單一民族”一直是一個很普遍的傳統現象。但兩波從中國到韓國的華人華僑移民潮卻反駁此現象。早期的移民潮發生在十九世紀末，在此期間移居到韓國的華人一般稱之為韓國華僑（簡稱為“韓華”）。最近這一波新移民潮則是發生在最近30多年，恰好是在發生在中華人民共和國和韓國建交的一九九二年前後。從一九九零年代開始，因中國崛起和亞洲移民的動態變化帶動的中國“新”移民到了韓國，也改變了在韓國社會裡外國剬民的國籍與種族結構。這些來自中國的新移民大部分都是漢族（簡稱為“漢族”），有些則是朝鮮族，這兩個不同的民族都持有中華人民共和國的國籍。已經有許多研究關注移居韓國的華人，但比較不同時代移居至韓國的華人的討論卻非常少見。這個研究便以統計和二手資料為主，特別針對這些在不同時期來到韓國的華人進行比較。本論文分析了在韓國移民政策裡頭制度排斥和包容的機制，筆者分析了這些政策裡的剬民權、法律和經濟等不同層面，發現韓國的一系列移民政策造成了新的多文化主義和民族國家主義。此外，本研究也發現產生制度排斥和包容機制是剬民權和種族性之間的相互作用的結果。 (This article is in English).

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Wang, Xin, Chris KK Tan, and Yao Wei. "Gaymi: Emergent masculinities and straight women’s friendships with gay male best friends in Jinan, China." Sexualities 22, no. 5-6 (October 30, 2018): 901–15. http://dx.doi.org/10.1177/1363460718773689.

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China’s economic liberalization in 1978 created new gendered and sexual subjectivities. This essay examines a new internet meme gaymi (“gay confidante”) and its discursive construction of gay men as genteel embodiments of a women-friendly “emergent masculinity” ( Inhorn and Wentzell, 2011 ). We argue that firstly, the gaymi discourse actually centers on the women who desire gay male companionship, because it ironically articulates the desires of these women and not those of the men. Secondly, strong links possibly exist between the rise of the gaymi and the popularity of the Korean Wave in China. Hence, the gaymi gestures at intra-Asian cultural globalization.

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Suryani, Ade Nine. "BANGTAN SONYEONDAN (BTS) AS NEW AMERICAN IDOL." Rubikon : Journal of Transnational American Studies 6, no. 1 (November 21, 2020): 48. http://dx.doi.org/10.22146/rubikon.v6i1.61489.

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South Korean pop songs or colloquially K-pop has spread globally. America also has a massive impact on this K-pop wave phenomenon. America now gives its enormous attention to the Bangtan Sonyeondan group or BTS group because this K-pop group is prevalent and becomes the new idol in America. In the beginning, K-pop is not successful, but until BTS comes and becomes a global sensation there. This paper tries to analyze which factors enable BTS to be the new idol in America. The writer uses a qualitative method to conduct the data and reception theory from Stuart Hall in the analysis. This analysis results in BTS, as the most popular K-pop group in America nowadays, has two factors that enable them to dominate American fans. The first one is through their androgyny physical appearance that redefines American traditional macho masculinity. The second one is through messages in their songs that raise social issues and mental health problems, helping their fans survive in their harsh lives.Keywords: BTS; decoded; encoded; k-pop; reception theory

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