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Dissertations / Theses on the topic 'Korean Pop'
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1
Han, Ae Jin. "The aesthetics of cuteness in Korean pop music." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61472/.
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The aesthetic of ‘cuteness' in South Korean popular music (known as K-pop) is a pivotal concept in Korean media and culture and is frequently used to describe performances by both male and female K-pop groups. Aegyo is a fundamental part of this aesthetic, also called ‘K-cute', and it refers to the behaviour of ‘acting cute' that denotes a particular coquettish style not only in K-pop but also in South Korean society in a broader sense. This thesis explores K-pop performance from the mid-2000s to the 2010s through an examination of K-pop artists' training process, an analysis of K-pop music videos' lyrical and visual codes and a study of notable live performances. The aesthetic of ‘cuteness' in K-pop is contextualised through a historical and cultural review of South Korea and the forms through which aegyo has been represented. Thus, we see how aegyo has evolved in response to gender stereotyping in both traditional and contemporary South Korean society and how it has come to represent a unique idea of Korean-ness expressed in a cultural form that also fulfils its potential for flexibility. Furthermore, this thesis investigates how the K-pop industry influences aegyo through issues of gender and sexuality, primarily examining Richard Schechner's performance theory and Erving Goffman's notion of self-presentation. A significant aspect of this investigation is the sexualisation of K-pop idol boy and girl groups through the deliberate adoption of the aegyo aesthetic, a process that forms a key part of the marketing strategy behind their ‘Korean wave' global success. Finally, I explore mediatised performances of aegyo and the possibility that remediation, as outlined by Bolter and Grusin, provides a potent vehicle for the repetition and reinforcement of ‘cuteness' via holographic and digitalised K-pop performances.
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Solomon, Mary Joanna. "Multivariate Analysis of Korean Pop Music Audio Features." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617105874719868.
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Almqvist-Ingersoll, Petter. "Conceptually androgynous : The production and commodification of gender in Korean pop music." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161973.
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Stemming from a recent surge in articles related to Korean masculinities, and based in afeminist and queer Marxist theoretical framework, this paper asks how gender, with a specificfocus on what is referred to as soft masculinity, is constructed through K-pop performances, aswell as what power structures are in play. By reading studies on pan-Asian masculinities andgender performativity - taking into account such factors as talnori and kkonminam, andinvestigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for aqualitative research project. By conducting qualitative interviews with Swedish K-pop fans andperforming semiotic analysis of K-pop music videos, the thesis finds that although K-popmasculinities are perceived as feminine to a foreign audience, they are still heavily rooted in aheteronormative framework. Furthermore, in investigating the production of genderperformativity in K-pop, it finds that neoliberal commercialism holds an assertive grip overthese productions and are thus able to dictate ‘conceptualizations’ of gender and projectidentities that are specifically tailored to attract certain audiences. Lastly, the study shows thatthese practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized toconsume in order to show support for their idols – in which the concept of desire plays asignificant role.
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Williams, Jolin Johan. "The South Korean Music Industry: The Rise and Success of ‘K-Pop’ By: Johan." Thesis, Stockholms universitet, Avdelningen för koreanska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-148696.
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Šarmanová, Lucie. "Role soft-power v budování image Korejské republiky." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-192583.
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This paper presents the concept of soft power which is applied on the case of the Republic of Korea. South Korea, defined as a middle power, strives to make itself visible in the international milieu by focusing on soft power and multilateral cooperation with other countries. The Korean Wave (or Hallyu) refers to the increased export of Korean cultural products (mainly popular music, dramas and films) to the rest of Asia and to the world and projects an image of modern and cool country which attracts foreign tourists and students and helps the branding of the nation and its products.
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Roupcová, Michaela. "Fenomén jihokorejské kulturní vlny v kontextu globalizace." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-203978.
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The master thesis analyses the South Korean culture wave (known as Hallyu) in the context of globalisation and Internet development. The theoretical part defines key terms in the area of globalisation, focusing on cultural globalisation and the role of Internet. This part further explains the origins and the spread of Korean popular culture with focus on its glocalization and the role of social media and the benefits of the wave for its country. The practical part of this master thesis deals with the presence of Korean wave in the Czech Republic. Included is also own research aimed at Czech fans of Korean culture. The final part includes the research evaluation, interpretation of the findings and the results obtained.
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Lee, Wonseok. "Diversity of K-Pop: A Focus on Race, Language, and Musical Genre." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067307402648.
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Ha, Jarryn. "My Song is My Power: Postcolonial South Korean Popular Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522941303946503.
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Schön, Ragnar. "A cross-cultural listener-based study on perceptual features in K-pop." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-178018.
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Recent research within the Music Information Retrieval (MIR) field has shown the relevance of perceptual features for musical signals. The idea is to identify a small set of features that are natural descriptions from a perceptual perspective. The notion of perceptual features is based on the ecological approach to music, that is, focussing on sound events rather than spectral information. Furthermore, MIR research has had an overemphasis on Western music and listeners. This leads to the question of whether the concept of perceptual features is culturally independent or not. This was investigated by having listeners of two distinct cultural backgrounds (Swedish and Chinese) rating a set of eight perceptual features: dissonance, speed, rhythmic complexity, rhythmic clarity, articulation, harmonic complexity, modality and pitch. A culturally specific dataset consisting of Korean pop songs was used to provide the stimuli. This was a subset of a larger set of songs from a previous study selected based on genre and mood annotations to create a diverse dataset. The listener ratings were evaluated by a variety of statistical measures, including cross-correlation and ANOVA. It was found that there was a small but significant difference in the ratings of the perceptual features speed and rhythmic complexity between the two cultural groups.
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KIM, JU OAK. "THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/385105.
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Media & CommunicationPh.D.
This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. In conclusion, the Korean Wave has rekindled national forces in spreading local popular content globally in three ways: 1) by deconstructing a binary approach of West vs. non-West, and Global vs. Local in order to understand media cultures and practices; 2) by understanding the rise of Northeast Asian media connections as part of a global culture; and 3) by decolonizing non-US/UK state actors to perceive their actions, which hinges on the ongoing centrality of nation-states in the global media sphere.
Temple University--Theses
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Chang, Yifan. "Research on the Identity Construction of Korean Pop Music’s Fandom Groups on the Weibo Platform : Exemplified by G-Dragon (Kwon Ji-Yong)." Thesis, Uppsala universitet, Institutionen för informatik och media, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-226402.
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abbes, cyrine. "Online Digital Media Practices on Twitter By Korean Pop Idol BTS and Fans: A Case on BTS (방탄소년단) and their Fans." Thesis, Uppsala universitet, Institutionen för informatik och media, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-388680.
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The research conducted focused on the media practices by a South Korean band « BTS » and the named fandom « A.R.M.Y ». Through the use of Twitter, the research consisted in making use of BTS’s Twitter posts to study what they are doing on social media in order to engage fans, as well as the type of practices that are being executed. The second part of the study investigated the fandoms’ interaction, participation, and online engagement in regard to the media content tweeted by the south Korean band. Mix methods were used in order to answer the three research questions that were presented for this research. An analysis of media practices was conducted through a content analysis then followed by an online survey. The analysis highlighted that shared practices and regular media use were an important factor in the creation of a participatory culture. Culture was also shown to be an important component to the generation of fan engagement and artist interaction with their respective fandom. In addition, through fans high participation in online activities, the investigation was able to demonstrate that fans developed shared practices and shared identities, which were emerged from their activities. Furthermore, BTS members have shown that their cultural habits were important for engaging fans. Overall, the results of this study concluded that media practices are various and are executed in ways that allow the South Korean band to keep an online relationship with their fans through diverse media content that is published on their own personal managed Twitter account. In response to that, fans have shown a constant interactions and engagements by liking, retweeting, commenting to the bands’ tweets, along with other different activities that have been demonstrated in the analysis chapter. Keywords: Social Media, K-pop, Fandom, Digital media practices, Participatory culture, engagement and interaction, Twitter
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Maeng, Jisoo. "Urban commercial space design proposal through pop-up store : Space design utilizing the formative features and meaning of Hangul, the Korean letter system." Thesis, Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6480.
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Ekström, Karl. "K-pop : Diskurs och konsumtion i koreansk populärmusik 1996 – 2015." Thesis, Högskolan Dalarna, Historia, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-18164.
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Denna uppsats undersöker koreansk populärmusiks explosiva framfart från slutet av 1990-talet och framåt. Den försöker svara på vad K-pop och dess idoler mer specifikt har representerat och erbjudit fans att konsumera och koppla detta till dess växande popularitet i ett historiskt perspektiv. Vidare försöker uppsatsen svara på varför K-pop gradvis har vuxit markant från slutet av 2000-talet i perifera regioner som Sverige. Uppsatsen analyserar ett urval av idolers representation i olika medier och källor som behandlar hur svenska fans förhåller sig till K-pop. Resultaten visar att idoler historiskt och med tid mer frekvent medverkat i många olika medieformat där de byggt upp en performativ image i relation till den rådande diskursen som en form av skådespeleri. Samtidigt har de idoler som följt kopierat originalkonceptet till det yttersta, vilket då också inbegriper plastkirurgi. Detta har resulterat i en ökning av ofta oskiljbara men visuellt vackra idoler. För många fans så ligger här en stor del av attraktionen; möjligheten att konstruera sin egen avgränsade konception av idoler för att fylla olika behov. För svenska fans så verkar det som att detta likaså är en del av anledning till dess växande popularitet när gränsen mellan det verkliga och fiktiva suddas ut. Det är också en möjlighet att anamma ett annat figurativt universum där exotiska idoler i sin allomfattande roll fritt kan konsumeras inom K-pop diskursen.
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Kim, Leejin. "Analysis and Construction of Engaging Facial Forms and Expressions: Interdisciplinary Approaches from Art, Anatomy, Engineering, Cultural Studies, and Psychology." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/567.
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The topic of this dissertation is the anatomical, psychological, and cultural examination of a human face in order to effectively construct an anatomy-driven 3D virtual face customization and action model. In order to gain a broad perspective of all aspects of a face, theories and methodology from the fields of art, engineering, anatomy, psychology, and cultural studies have been analyzed and implemented. The computer generated facial customization and action model were designed based on the collected data. Using this customization system, culturally-specific attractive face in Korean popular culture, “kot-mi-nam (flower-like beautiful guy),” was modeled and analyzed as a case study. The “kot-mi-nam” phenomenon is overviewed in textual, visual, and contextual aspects, which reveals the gender- and sexuality-fluidity of its masculinity. The analysis and the actual development of the model organically co-construct each other requiring an interwoven process. Chapter 1 introduces anatomical studies of a human face, psychological theories of face recognition and an attractive face, and state-of-the-art face construction projects in the various fields. Chapter 2 and 3 present the Bezier curve-based 3D facial customization (BCFC) and Multi-layered Facial Action Model (MFAF) based on the analysis of human anatomy, to achieve a cost-effective yet realistic quality of facial animation without using 3D scanned data. In the experiments, results for the facial customization for gender, race, fat, and age showed that BCFC achieved enhanced performance of 25.20% compared to existing program Facegen , and 44.12% compared to Facial Studio. The experimental results also proved the realistic quality and effectiveness of MFAM compared with blend shape technique by enhancing 2.87% and 0.03% of facial area for happiness and anger expressions per second, respectively. In Chapter 4, according to the analysis based on BCFC, the 3D face of an average kot-mi-nam is close to gender neutral (male: 50.38%, female: 49.62%), and Caucasian (66.42-66.40%). Culturally-specific images can be misinterpreted in different cultures, due to their different languages, histories, and contexts. This research demonstrates that facial images can be affected by the cultural tastes of the makers and can also be interpreted differently by viewers in different cultures.
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Vohradská, Zuzana. "Analýza aktivit jihokorejských firem z hudebního průmyslu na evropských trzích." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-196536.
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This master thesis analyzes activities of South Korean companies from music industry in the markets in Europe and this analysis is based on a questionnaire survey. The first part focuses on the theory and describes the Korean popular music, cross its history, major companies in the sector and their activity in foreign markets. In following theoretical chapters there is the definition of basic marketing terms, the theory of marketing research, its methods and evaluation and use of marketing research in culture, a summary of the economic situation in South Korea and differences in business negotiations between Koreans and Europeans. The practical part of the thesis describes in detail the selected companies, their products and activities in Europe. Furthermore there is an introduction to research and information about the survey. The final part deals with the evaluation and interpretation of the findings, conclusions drawn from the information obtained and the proposed solutions.
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Cha, Eurina Yujin. "Korean Immigrant Women's Perceptions of Cervical Cancer Screening in Hawaii." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5992.
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Minority immigrant women are more likely to be diagnosed with and suffer from cervical cancer compared to other minority women in the United States. The purpose of this qualitative ethnographic study was to explore cultural health perceptions, behaviors, and barriers to cervical cancer prevention among Korean immigrant women (KIW) in Hawaii. The health belief model and the social-ecological model were used to guide the study. Data were collected using individual structured interviews with 20 KIW ages 21 to 65 who are first-generation KIW immigrant to Hawaii. Data were coded and analyzed to identify themes. Findings revealed that participants (a) prefer a female gynecologist and Korean-speaking physicians; (b) are highly motivated to maintain physical health, including prevention; (c) prefer culturally appropriate community-based cancer prevention programs, and (d) expect innovative health maintenance approaches. Findings may be used by healthcare providers to identify culturally specific health needs of KIW related to cervical cancer screening and to implement appropriate preventive measures for KIW to reduce cancer death.
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Jong, Poo Lum [Verfasser]. "Wherever You Go, There You Are: A Biographical Reconstruction of Korean Immigrants in the United States by Way of Germany / Poo Lum Jong." Mainz : Universitätsbibliothek Mainz, 2019. http://d-nb.info/119139123X/34.
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WANG, ZI-YUN, and 王姿云. "An exploration on Korean pop (K-POP): Some empirical evidence." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/wvufac.
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碩士東海大學
國際企業管理碩士學位學程
107
This research is mainly related to K-POP topics, providing a brief review of past research. In addition, the study goes through the history of Korean Wave, the development of K-POP, the current market condition of K-POP, and elaborates the stakeholders of K-POP industry. In terms of the research methods, this study employed content analysis methodology as the main way to analysis the data. This study collect the information of 405 K-POP groups from 1992 to 2018, and then use the analysis software SPSS to analysis. Compared to other related researches, this study focused more on the empirical evidence part, it gathered the empirical example and information then categorize and analysis. Due to the past research is declining and the field of K-POP and Korean Wave is relatively lack of empirical evidence, the objective of this research is to open a new start and new sight of K-POP research, being a basic foundation of future research.
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WANG, MIN-JU, and 王敏如. "Adolescent Idolization of Korean Pop Stars as a Serious Leisure." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6r498u.
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碩士國立高雄大學
運動健康與休閒學系碩士班
104
Current literature has documented the widespread idolization of pop stars as a leisure activity among adolescents and its influence on shaping teen’s identity and personality. It is important to further investigate the nature of leisure behavior of idolization of pop stars. The purpose of this study is to explore adolescent idolization of pop stars as a type of serious leisure, and to examine the differences in qualities of serious leisure among those with various backgrounds. Notably, serious leisure is defined as a systemic pursuit of leisure activity and the gains of skills, knowledge, and experience as a result; while casual leisure appears the opposite nature. We applied two-stage stratified proportional sampling and surveyed students enrolled in high schools in Kaohsiung City, including senior, junior and vocational high schools, both public and private. We found that girls, junior high schoolers, and those who reported a fondness of an idol more than one year scored significantly higher in all qualities of serious leisure than boys, high school and vocational high school students, and those who reported a fondness of an idol shorter than one year, respectively. According to the result of cluster analysis, more than half (53.7%) of the adolescents’ idolization is characterized as casual fans, compared with 46.3% of idolization as die-hard fans. The result from discriminant analysis showed that the qualities of serious leisure are effective to discriminate between casual fans and die-hard fans, and the classification accuracy rate is 98.7%.
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Liao, Shumin, and 廖淑敏. "The Development and Success Factors of Korean POP Music in Taiwan." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10213586099919513644.
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碩士中國文化大學
韓國語文學系
101
The “Korean Wave” ignited by K-Dramas has started to grow in popularity in the late 1990s. Recently, Korean pop music has been internationally marketed to not only Asia, but America, and Europe. Consequently, Taiwan has also become one of the areas impacted by K-POP while the Neo-Korean Wave is sweeping the world. The objectives of this thesis are to study the success factors and development status of K-POP in Taiwan. The primary frame of this thesis comprises three parts. Part One deals with the background and developing progress in various phases in Taiwan. Part Two presents the analysis for the factors leading to K-POP’s success in the international markets. To be properly considered objective, I have carried out a questionnaire survey to the local general public on how Korean pop music has been successfully promoted and developed in Taiwan. Part Three details the analysis on the results of the said questionnaire. The findings of this study disclose that Korean pop music has earned more and more popularity in the 1990s while some Taiwanese singers tried to sing Korean-originated songs, and some Korea-born singers began to develop their new career in Taiwan. Meanwhile, several idol groups’ success in the late 2000s has created an ever-than-before fever for K-POP as Neo-Korean Wave in Taiwan. Anyhow, the path to success for K-POP has never been easy. The phenomenon attributed its success to Korean’s long-term training programs and dedicated efforts for music/dancing compositions before launching a new singer, along with Korean media’s efficient marketing communication and effective propaganda. The researcher of this study would like to share the findings with the pop music industry in Taiwan with a hope that the information disclosed hereafter would be of help.
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LIU, KAUN-YIN, and 劉冠吟. "Taiwan K-pop Fans' Reception and Practice with Korean Supporting Fandom Culture." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/r5vwva.
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碩士輔仁大學
大眾傳播學研究所碩士班
107
In 2009, Korean men's group Super Junior quickly became popular in Asia with the song " Sorry Sorry", and Taiwan also brought a new wave of music Hallyu -- K-pop. As K-pop prevails, a unique fandom culture of Korean idol fans -- Korean supporting fandom culture is also introduced to Taiwan and is accepted by Taiwanese K-pop Fans. Due to the characteristics of fan, Taiwanese K-pop fans began to learn, imitate, practice and innovate on the Korean supporting fandom culture in Taiwan. However, through observation can be found that Taiwanese K-pop Fans are not completely consistent with the reception and recognition of Korean aid culture. The difference in the recognition and understanding of Korean supporting fandom culture caused the difference in the degree of practice among individual fans. Therefore, this study attempts to understand how Taiwanese K-pop fans receive and practice Korean supporting fandom culture, what kind of Taiwan's local supporting fandom culture type has been developed, what kind of difference has produced the difference in the degree of practice? Through in-depth interviews, this study found that Internet technology and fan labor are indispensable ways and support for Taiwanese K-pop fans to receive and learn Korean supporting fandom culture. With the help of both of them, they gradually established an understanding and cognition of Korean supporting fandom culture. At the same time, they perceive the meaning and importance behind the supporting fandom culture, and then develop the practice of local differences in the same situation -- Taiwan fandom supporting model. Under the framework of Korean supporting fandom culture, Taiwanese K-pop fans strive to join the innovative content with Taiwanese characteristics, in order to stand out in the eyes of idols with many different national fans, and Taiwanese K-pop fans have indeed done it. It is undeniable that there is indeed a difference in the degree of practice between Taiwanese K-pop fans. Because of the different situations, values, and differences in the recognition and understanding of Korean supporting fandom culture, Taiwanese K-pop fans have produced different practices in the struggle to form rational and fans’ emotional drives. However, regardless of the degree of practice, Taiwanese K-pop fans have tried to consume idols or fandom supporting sign through the practice of Korean supporting fandom culture, and form a ceremonial effect of spectacle, in order to maintain and express the emotional connection with idols and other fans, and also affirm the self-confidence of the identity of K-pop fan.
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SUNMI, LEE. "Effects of Consumption Value on Korean Pop Culture Contents Consumption Behavior in Taiwan: The Moderating Role of Korean Language Ability." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/b6tb6v.
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碩士國立高雄大學
國際企業管理碩士學位學程
106
Despite Korean Pop Culture Contents (KPCC) are gaining popularity in Taiwan for past decades, previous literature has paid a limited attention to revealing why Taiwanese consume KPCC for manufacturers, retailers, or even traders. Using qualitative study, this research thesis proposes and examines a research model that describes association of consumption values and cultural value on KPCC consumption behavior. The consumption value theory advocates that consumption behavior comes generally from functional value, epistemic value, social value, conditional value, and/or social value. Moderation effect of Korean language ability on the model is also investigated. Based on data analysis from interviews of 26 subjects, research findings are obtained showing that (1) functional, epistemic, social and conditional values have strong associations with consumption behavior, (2) emotional and cultural value reveal weak associations with consumption behavior, and (3) language ability partially moderates relationships between consumption behaviors and consumption values. Implications and suggestions are also addressed.
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LIANG, YI-HSUN, and 梁懿薰. "A CASE STUDY OF KOREAN POP MV DANCE DEVELOPMENT AND PEDAGOGIC TRANSFORMATION IN TAIWAN." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/928sd2.
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碩士國立臺灣體育運動大學
舞蹈學系碩士班
106
In recent years, South Korea's K-POP has become an imitation trend as well as led to the MV dance teaching in Taiwan. This paper aims to explored the transformation of K- POP dance teaching in movement materials in this “Korean Wave” trend. First of all, the characteristics and cultural factors of K- POP related literature were collected and analyzed. In addition in-depth interviews and in-class observations were conducted through out the entire research period. Thus the development of Korean MV dance in Taiwan was examined. The result of this study found the aesthetic experience of Korean MV dancing resonates with young people in Taiwan. The original MV dance moves were adjusted into curriculum materials due to the factor of considering the parents perception of the sexy movement presentation in Taiwan. And the economic benefits behind this phenomenon are not to be underestimated. Taiwan students to learn Korean-Trend MV dance will increase year by year, found that the man reason is that young students hold a strong dream of becoming a pop star. In their mind, to learn all these MV dance movement will create a better chance of becoming a celebrity. Because of the great motivation motivate student to train their dance technic skill, their dance skill improved. Parental perception should be considered in teaching actions. Doing ethical choices between popular and popular moves. This research findings may contribute as the reference to the relevant industry.
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LI, CHIA-SHU, and 李家恕. "Globalizing and renovating Korean popular music strategically:A musicology analysis of K-pop production process." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dmr47p.
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碩士世新大學
傳播管理學研究所(含碩專班)
106
While Korean pop songs have emerged as a dominant form of artistic commodity in the global pop music market, Korean pop (K-Pop thereafter) is thus less affected by cultural discount among their followers. Research efforts have paid along K-POP paying attention to the cultural production, such as cultural intermediaries (agencies and recording companies) - as of how Korean pop music agencies formulate a symbolic system where the intellectual properties can be duplicated and quickly expanded in the global consumerist society. However, scarce researches have maneuvered to understand the textual elements and specific acoustic elements despite increasing devotion to visual/choreographic representation paid. It is in this context. this thesis attempts to explore the acoustic/musicological elements innovated in K-POP along the process of music production achieve the goal to bypass the global barriers, penetrating different markets. Additionally, what are their K-POP music production formulas and how are they internalized/integrated into the global music production. Through the perspective of musicological analysis, this thesis focuses on the use of hook, hip-hop stylization and uniqueness of Korean music. The aforementioned three dimensions are employed to contextualize how Korean Pop music innovate their music note composition, musical rhythm segmentation and performance so that a common and globalized formula is materialized in an exclusive manner to gain the global popularity. Besides the analysis, this research examines the chorological transformation in the strategic adaptation and micro-modification and how it seizes the mind of its followers and explicates the notion of easy to listen, brainwashing and ready to sing and perform, as termed as main characteristics of popular music against the global cultural mediacape, creating a unique position as K-POP music.
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Lee, Jamie Shinhee. "Discourses of fusion and crossing pop culture in Korea and Japan /." 2005. http://catalog.hathitrust.org/api/volumes/oclc/73174853.html.
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HUANG, YI-YA, and 黃意雅. "An Action Research on Using Korean Pop Songs in the Recorder Tonguing Teaching of Sixth Graders." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/mr6tpm.
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碩士國立臺北教育大學
音樂學系碩士班
107
The purpose of this study is to explore the results of an action research on using Korean pop songs in the recorder tonguing teaching of sixth graders. This study is based on the sixth grade students of Kaohsiung City Happy Elementary School (a pseudonym) taught by researcher. The researcher based on the content of the recorder teaching of the eighth volume of the arts and humanities textbooks of the Hanlin edition, selected the learning skills and replaced the songs of textbook with Korean pop songs and designing the teaching plan, divided into three units of and , , for 12 courses. Analyze the information collected by the four tools of " Teacher thinking log", " Collaborative teacher observing records ", "Student feedback form" and " Rubrics of recorder performance " and obtain the following conclusions: 1.Deep thoughts on teachers using Korean pop songs in the recorder teaching were: (1) Teachers should carefully observe the student's problems of tonguing and guide them with appropriate teaching guidances and reminders. (2) In rhythm teaching, teacher should accord with students learning situation and guide them practice in small units or teaching follow the steps: read rhythm syllables →clap and read rhythm →clap rhythm, teaching results will be better. (3) Students have problems of breathing techniques on high and low range, teacher can use life examples guide students to practice, and reminder them blow the recorder lightly. (4) Course design should be student-centered, and specific examples should be used to assist students in understanding abstract concepts. (5) Teachers should flexibly arrange teaching activities to increase student learning effectiveness. 2.Using Korean pop songs in the recorder tonguing teaching does enhance students' interest in learning. According to the results of " Student feedback form " and " Teacher thinking log" can be found that students are interested in this research courses, like and are more willing to learn the recorder, willing to increase the number of exercises, and will actively participate in teaching. From " Collaborative teacher observing records " can be found that the two collaborative teachers almost gave positive comments. Showing that use of Korean pop songs in the recorder tonguing teaching does improve students' learning interest. 3.Using of Korean pop songs in the recorder tonguing teaching does improve students' learning achievement. According to the results of " Student feedback form " and " Teacher thinking log ", students agree that this research’s courses, let them to learn the skills of recorder and overcome difficulties and challenges. According to " Collaborative teacher observing records ", the two collaborative teachers in the 12 lessons of the three units all agreed that the study can promote student’s achievement, and all students have improved their tonguing techniques because they like Korean pop songs. As the result of " Rubrics of recorder performance ", all three students have reached the C level (basic) or above. In the category of " Tonguing techniques ", 2 students have reached the A level, and 1 student has the B level, from the " Teacher thinking log " also can find the three students' recorder playing skills progress obviously. Showing that use of Korean pop songs in the recorder tonguing teaching does improve students' learning achievements. Finally, based on the research experience and results, the researcher made recommendations to the instructors, textbook editors and future researchers, and looked forward to helping teachers and personnel involved in music teaching.
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Chen, Pei-Wen, and 陳沛雯. "Industrial Dynamics, the Evolution of Platform Architecture and the Business Model in the Korean Pop Music Industry." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/91816202749787842709.
Full textAbstract:
碩士東海大學
企業管理學系碩士班
104
The emergence of Korean Pop Music (the K-Pop) has been recognized as a new global genre rise. Many scholars have provided extensive discussions of the reasons and the factors of the K-Pop industry rise. However, little literature has the focus on the power drive behind the K-Pop. This paper has an evolutionary perspective on industry dynamics, seeking the reasons behind its contrasting the platform architecture to identify and discuss the different stages of the evolution of the K-Pop music platform development. Then through the perspective of the platform leader, S.M., to realize the choice and the consequences of the business model, and evaluate the business model of S.M. This article argues that industrial dynamics, the evolution of platform architecture and the business model of S.M. in the K-Pop industry. This study present (a) the appearance of the K-Pop dynamic development industry; (b) the driving force of the K-Pop platform architecture evolution; (c) the formation and process of the mechanism evolution in the K-Pop industry platform; (d) analyzing the business model of S.M.
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YUAN, CHUN-CHI, and 元君綺. "A Study of Korean Pop Music fans Application Integrated Marketing Communication - A Case Study of the Social Media Platform." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/54016292679038560651.
Full textAbstract:
碩士南臺科技大學
資訊傳播系
105
In recent years, Korean pop culture has become an important trend of international communication, in the world set off a new Korean wave. As the Internet is free from time and space constraints, anytime, anywhere to pass and receive messages, fans through the network can quickly grasp the latest information, and even for their favorite idol, have set up a community site dedicated idol station , Therefore, the virtual community has become the best platform for fans chasing stars. The rapid development of science and technology, Integrated Marketing Communication has become the trend of today's marketing. In this study, the concept of Integrated Marketing Communication into the Korean pop music fans in the community website business, through content analysis, to explore the community on the community how to operate their favorite idol community media platform to five samples during the past six months within the two platforms in the message content and participants interact to do coding for content analysis, and try to clarify the use of Integrated Marketing Communication strategy. The study found that Korean pop music fans will use text, links, pictures, audio and video and other sites to do the same, to convey the same message; In addition, in the two platform operators, the message content is consistent, there will be no information asymmetry; and interactive, Facebook's message rate is higher than Twitter, to comment on the message the most enthusiastic behavior, can show the community for other ideas and opinions of the acceptance is quite high.
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Patrícia, Portugal Marques de Carvalho Lourenço Patricia. "K-Pop Music Digital Marketing Role in Brazil; case study: Kim Hyun Joong." Master's thesis, 2015. http://hdl.handle.net/10400.26/22742.
Full textAbstract:
K-Pop is hugely promoted offline/online in East Asia, while efforts to promote it
elsewhere are kept to a minimum. Whilst addressing the role of digital marketing in the
promotion of K-Pop in the Brazilian music industry this MSc dissertation aims to
demonstrate that if K-Pop thinks globally and acts locally in their marketing and
communication strategies they will provide their audience with a unique and engaging
experience. A case study analysis of Korean Pop star Kim Hyun Joong including a
broad survey of K-Pop world fan base and Kim Hyun Joong’s fans specifically was
carried out online with 1169 fans to determine the validity of the hypothesis. The results
have demonstrated the need to adapt global strategies to local markets in order to
increase brand awareness and maximize profits.info:eu-repo/semantics/draft
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Lee, Hsing-Lun, and 李幸倫. "A Study on the Management of Taiwan Representation of Korean Pop Music - A Case Study on avex taiwan in Representation of SUPER JUNIOR." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/40417202773033356246.
Full textAbstract:
碩士世新大學
傳播管理學研究所(含碩專班)
100
The digitalization and globalization have proved to be monumental impacts on pop music industry and altered consumer patterns of a global scale. The impact on Taiwan's music industry was accelerated severely compared to its peers in the global market. Taiwan's controversy laid in its society being one that lacked sufficient knowledge and legislation to protect intellectual property. Under these circumstances, consumers face contradicting ethical values and behaviors in expectance of "high value" and "zero cost" goods. These behaviors can be seen consumer's "zero cost" experiences and expectancy in downloading and file sharing, and online broadcasters' emphasis on "high value" in content while failing to match equal value cost to the producers of these content. The music industry is severely eroded by these joint behaviors of individual consumers and other partnering businesses. Amongst harsh conditions in Taiwan, rare cases manage to breakthrough, and one of the most successful is that of avex taiwan breaking a new market for Korean pop idol group SUPER JUNIOR and maintained highest selling foreign albums for three consecutive years. This thesis examples the case of SUPER JUNIOR in Taiwan as a study in the management and strategy of how avex taiwan, as a cultural intermediary, abated a historical hostility Taiwanese took toward Koreans as major competitors in the world, and successfully heightened SUPER JUNIOR to its idol stardom with limited media resources. This study will discuss the significance of the five cultural processes of "the circuit of culture" in sync that scholars such as du Gay, Hall, Janes...etc, raised since 1997, accompanied with first-hand information illustrated in the SUPER JUNIOR case. Observation on SUPER JUNIOR's progress to idol status in the Taiwan market, followed by the definitive Golden Melody Awards event, this study will depict the "representation" of Taiwanese media on the idol group, and analyze its impact on "production" and "consumption". The analysis will then attempt to identify the "regulation" within the circuit of culture that SUPER JUNIOR's adaptation to the environment enabled. Within the processes of the five cultural links, the study unveils the differentiation strategy avex taiwan exercised and how Taiwanese consumers relate to the idol group in many aspects to create its economy of scale and the influences on regulations.
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Li, Ya-Chu, and 李雅筑. "The Visual Culture of Korean Pop Music: A case Study on the Seeing/ Using of the Music Videos of Girls'' Generation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/29853769218623969169.
Full textAbstract:
碩士國立臺灣大學
新聞研究所
101
In the mid-to-late 1990s, Korean Pop music, also known as K-Pop, has become widespread and garnered great attention internationally with the development and expansion of “Korean Wave”. After 2008, a number of Korean idol groups introduced K-Pop from Asia to North America and Europe. This thesis aims at answering the key point of the trans-cultural communication of K-Pop, and how it marked itself. Traditional trans-cultural communications utilizes “Cultural Proximity” as the main research route. However, this research attempts to analyze K-Pop in the perspective of Visual Culture. When the society is flooded with the landscape of visual media, “visuality” has found its place in the research of sociology with the term “visual turn”. Moreover, with the circulation of visual text in the society and with the interactions between consumers, which has made visual studies involved in the discussion of sociology, also known as sociology turn of visual research. To learn the context of visual text of K-Pop, and how it works in trans-cultural communication, this paper chose “following the object” as the research method. The method was created by Scott Lash and Celia Lury, with focus on the life journey of object and recoding the process of production, distribution and consumption. This paper has three research questions: 1. In the history context of K-Pop, how was visual music produced and circulated in the global pop culture? What do Korean entertainment companies do to promote K-Pop? 2. Analyzing the visual elements in music videos to understand how K-Pop relies on it to express its uniqueness. 3. What are the visual experiences of fans to music videos? What kind of imaginations are created through K-Pop? How do they appropriate the visual elements to their daily lives as cultural practices? This research has concluded that after 2005, with the combination of visual images of platforms, and the combination and circulation of pop music product in the music industry, the production and content of K-Pop has changed. The Korean entertainment companies started to create visual music, and the images of the idol started to cater to the market. The styles of the music videos are created not only for the music and the topic, but also aim at creating their own style with the visual elements. Therefore, K-Pop regards itself as a trend-setting pop culture, leading the imitation trend, and a music genre that creates fashion. Body movements, or dance, are often used by K-Pop singers as movements as the presentation of the music. With the combination of dance and music, it creates visual memory points and characteristics. The visual pictures constructed by the dances utilize the tactic of One Source/ Multi-Use (OSMU). It not only shows the whole group, but also presents the differences of each member, which then shows multiple visual effects. Furthermore, the complex dance formation and ranks reveal their trainee period and make the idol look more professional. With the articulation of images and dance, it created brand-new experiences in visual aspect of music consumption. Therefore, music videos were not merely visual images, but have become the cusumer’s main consumption aspect. When the visual text are reproduced and spread, it strengthens the visual tactic of K-Pop. The fans observe, and appropriate meaningful elements as source materials in their daily lives. The phenomenon shows that the visual elements have departed from appearance meanings, and have become means of mediation and message. In different fields and behaviors, fans regard it as a life-style, and construct imagination of K-Pop, and even connect with the Korean culture and their own values. Therefore, the interactions of visual text and fans have produced a system, which will represent and spread the effects of visual K-Pop.
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Loureiro, Maria Inês Madureira. "Cultura sul-coreana em Portugal: o efeito da "Korean Wave"." Master's thesis, 2018. http://hdl.handle.net/10071/17254.
Full textAbstract:
Num cenário global onde o consumo de produtos culturais há muito que deixou de ser
restringido por barreiras geográficas, e temporais, a Korean Wave surge como uma onda
pronta para se impor na indústria do entretenimento.
O consumo e exportação de cultura popular Sul Coreana têm vindo assim, como
consequência, a ser cada vez mais estudado. Procuram-se respostas para a razão da sua
popularidade, procura-se saber quais os seus meios de difusão e como funcionam.
Embora na presente dissertação não se tente analisar o fenómeno da Korean Wave ao
pormenor quis saber qual o impacto que esta tem na disseminação da cultura coreana
em Portugal, partindo do princípio que a Korean Wave também já se teria infiltrado no
tecido cultural português.
Assim, através de métodos quantitativos (pesquisa teórica e realização de
entrevistas) e qualitativos (concretização de inquéritos), foi possível começar a colocar
em papel a realidade da cultura coreana em Portugal. Realidade que tem duas principais
componentes propícias à investigação: A aprendizagem da língua coreana e os eventos
de cultura coreana.
O papel da Korean Wave na divulgação da cultura coreana em Portugal revelouse essencial. Através dos resultados obtidos foi constatado que a cultura pop coreana,
que inclui a música, séries e filmes coreanos, é a principal responsável por espoletar o
interesse do público-alvo na cultura coreana e, consequentemente, indispensável para a
divulgação da cultura coreana, não só em Portugal, como a uma escala global.In a world where the way we consume content is no longer restrained by place, or time, the Korean Wave floods in ready to take its place in the entertainment industry. The exportation and consumption of South Korean pop culture products has therefore become an attractive study subject. Why is it so popular, how does the content circulate, these are some of the questions trying to be answered. Although the main goal of this dissertation is not to analyse in depths the phenomenon of the Korean Wave I wanted to discover the impact it has on the dissemination of Korean culture within Portugal, this assuming that said Korean Wave had already infiltrated the Portuguese culture sphere. In order to so qualitative methods, such as theoretical research and interviews, and quantitative methods, such as questionnaires, were used. This way it was possible to begin constructing an image of the reality of Korean culture in Portugal. This reality has two main pillars conductive to being researched: the study of Korean language and events regarding Korean culture. The role of the Korean Wave in the disclosure of Korean culture in Portugal revealed itself to be essential. Through the results prevenient from the research it was possible to verify that Korean pop culture, which includes music, series and movies, was the main responsible for triggering the interest of the target audience and is, therefore, indispensable in the propagation of korean culture not only in Portugal but all around the world.
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Silva, Ana Rita Dias da. "Cultura em movimento: a korean wave como instrumento de soft power sul coreano: o efeito entre jovens portugueses." Master's thesis, 2021. http://hdl.handle.net/10071/24340.
Full textAbstract:
A Korean Wave, ou Hallyu, como é referida em coreano, é o termo usado para designar o
crescente sucesso da cultura popular sul-coreana que ofereceu ao governo uma oportunidade de
a usar como nova ferramenta para trabalhar o seu soft power. O presente estudo tem como
propósito analisar os comportamentos dos jovens consumidores e fãs portugueses que
consomem conteúdo de entretenimento sul-coreano, como música (K-Pop), séries (K-Dramas)
ou filmes, e as perceções que têm da Coreia do Sul, a sua sociedade e cultura, à luz da teoria do
soft power, assim como a forma como a Korean Wave sofisticou a imagem nacional do país.
Através de entrevistas semiestruturadas feitas a fãs e não-fãs destes conteúdos e uma
metodologia qualitativa, este estudo pretende responder à principal questão – como é que a
difusão e popularização da Korean Wave e dos produtos das indústrias culturais sul-coreanas
por via da internet contribuíram para uma possível alteração do soft power da Coreia do Sul?
Dada a limitação do estudo é impossível proceder a generalizações quanto a conclusões, mas
ainda assim, foi possível concluir que a Korean Wave, e em particular o K-Pop, como um
recurso de soft power de facto moldou e influenciou uma nova forma de pensar e imaginar a
Coreia do Sul para estes jovens – o interesse momentâneo sentido pelos fãs abriu caminho a
um entusiasmo e consumo prolongado, com capacidade para alterar as perceções e criar uma
imagem positiva do país e da sua cultura.The Korean Wave, or Hallyu as it is referred to in Korean, is the term used to designate the growing success of South Korean popular culture, which offered the government an opportunity to use it as a new tool to work on its soft power. This study aims to analyse the behaviour of young Portuguese consumers and fans who consume this content, such as music (K-Pop), series (K-Dramas) or films, and their perceptions of South Korea, its society and culture, considering the soft power theory, as well as the way in which the Korean Wave sophisticated the country's national image. Through semi-structured interviews to fans and non-fans of this type of content and qualitative methods, this study aims to answer the main question - how the dissemination and popularization of the Korean Wave and the South Korean cultural industries’ products via the internet contributed to a possible change of South Korea's soft power? Given the limitation of the study, it is impossible to make generalizations regarding the conclusions, but even so, it was possible to conclude that the Korean Wave, and in particular K-Pop, as a soft power resource indeed shaped and influenced a new form of thinking and imagining South Korea for these young people – the momentaneous interest felt by fans opened the way to enthusiasm and prolonged consumption, with the ability to change perceptions and create a positive image of the country and its culture.
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Park, Hyunyoo, and 朴炫惟. "Construction of Folk Scenes in 1970s Taiwan and Korea: "Rock Magazine" and "Monthly Pop Song"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bb2hs9.
Full textAbstract:
碩士國立臺灣大學
音樂學研究所
106
This research examines the issue of localization of popular music through folk music in the 1970s Taiwan and South Korea. Two representative pop music magazines in this period, Rock Magazine (Taiwan) and Monthly Pop Song (Korea), are examined and compared to show how the American folk as a genre was localized and modified, and what the possible reasons would be. The two magazines are valuable data which show how Anglo-American popular music was promoted and localized each in Taiwan and Korea. Furthermore, the publications contributed greatly to the construction of domestic pop scenes and connections between participants of the music scenes, not only promoting the pre-existing overseas popular music. In particular, the magazines participated actively in the emergence of domestic folk scenes. Folk music was one of the most prevalent musical trends of the youths in the 1970s Korea and Taiwan, along with other genres of overseas-oriented popular music. Korean and Taiwanese youths participated in constructing new domestic folk scenes as audience, musicians, and workers in the music industry, arousing changes in domestic pop music environments. They adopted many musical elements in the American modern folk revivals, but domestic folk scenes were placed in different contexts from American ones. Specificities of Korean and Taiwanese folk come from the historical contexts of domestic pop scenes, as well as different mindsets of scene participants, which are shown through these two magazines. As well as analyzing the publications, this research also tries to give an overview of popular music and the emergence of folk in Korea and Taiwan. The 1970s Korean and Taiwanese folk, as genres and scenes, were two separate phenomena in themselves. Still, this paper examined, compared and contrasted the two different cases together, starting from several notable common features of folk’s development in Korea and Taiwan. Multiple reasons, including political limitations under authoritarian regimes, specific socio-cultural conceptualizations of youth, and prevalence and internalization of Anglophone pop music, are mentioned as the reasons for similarities. At the same time, through investigating magazines and other related materials, this research also dealt how Korean and Taiwanese folk, which share the root of modern American folk, diverged under different domestic circumstances.
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Dias, Gonçalo Jorge de Carvalho Coelho Mendes. "Ritmos em revolução : o K-POP e as suas plataformas transnacionais." Master's thesis, 2014. http://hdl.handle.net/10400.14/18065.
Full textAbstract:
Este trabalho pretende compreender o papel das plataformas transnacionais
como veículos de promoção do K-Pop e da sua disseminação à escala global. Partindo
das tipologias existentes de plataformas – físicas, digitais e híbridas – procedemos à sua
caracterização, à análise dos processos em que intervêm e ao exame das consequências
e tendências que delas decorrem. Para o efeito, recorremos a um questionário aplicado à
comunidade do allkpop.com, que nos possibilita conhecer os hábitos de consumo dos
fãs de K-Pop e nos ajuda a ilustrar os domínios de produção, distribuição, recepção e
processamento subsequente preconizados por Christoph Jacke, e através dos quais
estruturamos a presente dissertação.
A ausência de estudos que articulem os conceitos de K-Pop e de Plataformas
Transnacionais deixa espaço para esta tentativa de contribuir para o conhecimento
existente em áreas que despertam interesse pela sua relevância em várias dimensões.This work looks into the role of transnational platforms as vehicles of K-Pop‟s promotion and of its dissemination on a global scale. Building on the existing typologies of platforms – physical, digital and hybrid –, it aims to describe them, analyse the processes in which they intervene, and assess both the consequences and the tendencies that derive from them. For that matter, it makes use of a survey applied to the allkpop.com community that sheds light on the consumption habits of the K-Pop fandom, and helps to illustrate the production, distribution, reception and further processing domains preconized by Christoph Jacke, on the basis of which this dissertation is structured. The absence of works that link together the concepts of K-Pop and Transnational Platforms leaves room for this effort to contribute to the current knowledge in fields that spark interest by its relevance in several dimensions.
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Kim, Jeoung Hee. "Secondary prevention health behavior on cervical cancer in Korea : Papanicolaou smear screening test." Thesis, 1996. http://hdl.handle.net/10125/10270.
Full text
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Brabant, Camille Simone. "Supertexte et représentation des idols féminines dans les télé-réalités sud-coréennes." Thesis, 2020. http://hdl.handle.net/1866/24291.
Full textAbstract:
Ce mémoire de maîtrise présente une étude des normes genrées auxquelles sont soumises les idols féminines de la K-pop. La construction, par l'industrie du divertissement, de ces vedettes de la culture populaire sud-coréenne, est un lieu de négociation entre les valeurs traditionnelles et modernes. Ce contexte se manifeste par une personnalité paradoxale, unissant l’innocence enfantine et la sexualité explicite.
Les normes entourant ces célébrités sont étudiées par le biais de trois émissions de télé-réalité sud-coréennes mettant en scène des idols féminines : Invincible Youth (KBS, 2009- 2012), We Got Married (MBC, 2008-2017) et Produce 101 (Mnet, 2016-2019). L’analyse de ces émissions montre que, peu importe le contexte, on attend des participantes qu’elles maintiennent leur image et leur rôle d’idol, qui consiste à divertir et à charmer tout en restant humbles et chastes.
Ces normes sont transmises et renforcées, notamment, par le « supertexte », un ensemble de commentaires textuels et/ou graphiques superposés à l’image à l’étape du montage. Ce procédé n’ayant pas encore été théorisé, cette recherche le compare aux intertitres du cinéma muet et à la « televisuality » selon Caldwell (1995). Il appert que la variété des formes que peut prendre le supertexte lui accorde une expressivité qui dépasse celle des intertitres, lui permettant d’asseoir une « autorité esthétique » par laquelle il invite le public à se joindre à son regard hégémonique.
Les résultats de ce mémoire, jumelés à la théorisation du supertexte esquissée au cours de cette recherche, approfondissent la compréhension du processus par lequel l’industrie du divertissement sud-coréenne construit et entretient l’image des idols féminines.This thesis looks into gender standards surrounding K-pop female idols. Curated by the Korean entertainment industry, these women embody the current clash between traditional and neoliberal values in South Korea, which translates into a contradictory image bringing together childish cuteness and mature sexiness. Those standards are studied through three South Korean reality TV shows starring female idols: Invincible Youth (KBS, 2009-2012), We Got Married (MBC, 2008-2017) and Produce 101 (Mnet, 2016-2019). Our analysis of these shows finds that in any setting, female idols are expected to keep up their image and fulfill their role as an idol, which consists of entertaining and seducing while simultaneously displaying a pure and humble personality. Those standards are transmitted and reinforced by the “supertext,” an ongoing textual and/or graphic commentary overlaid on the image through editing. As this object has yet to be theorized, this research compares it to inserts in silent film and to Caldwell’s (1995) concept of “televisuality.” These comparisons allow us to note that the supertext’s various shapes and forms allow for expressivity way beyond that of inserts, through which it invites the audience to join its hegemonic gaze by establishing “aesthetic authority.” The results found in this thesis, paired with the theorization of the supertext drafted through this research, lead to a better understanding of the process through which the South Korean entertainment industry constructs and maintains a certain image of female idols.