The cultural industry policies of the Korean government and the Korean Wave

Kwon, Seung‐Ho; Kim, Joseph

doi:10.1080/10286632.2013.829052

Cited by 84 publications

(58 citation statements)

References 30 publications

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“…It has been documented that the remarkable growth and popularity of films, TV dramas, online gaming and K-pop music, in both domestic and international markets, cannot be fully understood without taking into account the Korean government's continuing support for the cultural and creative industries over the past 20 years in conjunction with its investment in other relevant industries such as information and communication technology and the tourism industry (Chae, 2011;Kwon & Kim, 2014;Nam, 2008;Shim, 2012).…”

Section: Korean Tourism Policy's Response To the Hallyu Phenomenonmentioning

confidence: 98%

“…Until then, the Korean government had seen the tourism industry as a luxury industry to be controlled with restrictions (Kim, 2011). However, every political and sociocultural domain in the country was mobilised by the government in order to achieve its economic objectives under an export-driven economic policy stance (Kwon & Kim, 2014). After the successful hosting of the 1988 Seoul Olympics and the liberalisation of Korean outbound tourism in 1989, the tourism industry began to receive more attention from the Korean government, resulting in the country's first five-year tourism development policy in 1996 (Shim, 2012).…”

Section: Chronicle Of Tourism Policy In Koreamentioning

confidence: 99%

“…For instance, the Korean rapper PSY and his song "Gangnam Style" gained tremendous popularity all over the world with a historic 2 billion views on YouTube. The success of PSY is considered to be a major part of the international success of Korean popular cultural products in response to the rapid growth of Hallyu (Kwon & Kim, 2014).…”

Section: Introductionmentioning

confidence: 99%

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HallyuRevisited: Challenges and Opportunities for the South Korean Tourism

Kim

Nam

2015

Asia Pacific Journal of Tourism Research

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The tourism industry in South Korea has undergone unprecedented growth and faced multiple changes since 2000, thanks to the recent emergence and growing popularity and influence of the Hallyu phenomenon. Although an earlier research paper in Tourism Geographies in 2009 provided insights into the relationship between the Hallyu and patterns of inbound tourism, little scholarly effort has been made to investigate how the Korean tourism industry has evolved in response to the challenges and opportunities generated by the Hallyu. The findings suggest that until recently, the government did not have a comprehensive mid-and long-term tourism policy dedicated to the Hallyu and its impacts on tourism. Diversified trends and patterns of Hallyu-related tourism, a paucity of longitudinal approaches to market segmentation research and long-term trend analyses, and a lack of coordination between the Korean government and key tourism agencies have been also identified as key issues and challenges.

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Section: Korean Tourism Policy's Response To the Hallyu Phenomenonmentioning

confidence: 98%

Section: Chronicle Of Tourism Policy In Koreamentioning

confidence: 99%

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HallyuRevisited: Challenges and Opportunities for the South Korean Tourism

Kim

Nam

2015

Asia Pacific Journal of Tourism Research

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“…Furthermore, Korean films have maintained a market share of above 50% in the domestic market during the 2000s, representing their competitiveness against Hollywood films (Kwon & Kim, 2013). For instance, the market share of Korean films was 59.6% and that of foreign films was 40.4% in 2012 (Figure 3).…”

Section: Hallyu As a Critical Event?mentioning

confidence: 97%

“…The development of the Korean film and broadcasting industries reveals that their significant growth cannot be explained without considering the role of the government in supporting them (Keane, 2006;Kwon & Kim, 2013). In order to understand the current film and TV industries in Korea, it is important to look at the institutional settings and the interactions taking place among different public sectors and individual participants, as well as the discourses articulated by diverse agencies (Shin & Stevens, 2013).…”

Section: Match and Mismatchmentioning

confidence: 99%

Creative Cluster Evolution: The Case of the Film and TV Industries in Seoul, South Korea

Berg

2014

European Planning Studies

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Can the concept of co-evolution help to analyse and explain the dynamics of creative industries? This article tackles the question by investigating the film and TV cluster in Seoul, South Korea. The analysis of the 35 semi-structured interviews confirms the dynamics of the film and TV industries in Korea. First, Hallyu began with the export of Korean TV drama series across East Asia. The state deregulation and neo-liberal reforms during the 1990s in Korea boosted an explosion of the export of the Korean film and TV industry. Second, the core of the film and TV production is concentrated within Seoul, while dispersion of those industries occurred in Gyeong-gi province. Third, from an institutional perspective, tensions between the central government and the film and TV industry can be observed, which have been intensifying since 2006. This paper concludes that particularly co-evolution could potentially be an important concept to explain and analyse dynamics in creative industries.

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Identifying the topology of the K‐pop video community on YouTube: A combined Co‐comment analysis approach

Song

2015

Asso for Info Science & Tech

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YouTube is a successful social network that people use to upload, watch, and comment on videos. We believe comments left on these videos can provide insight into user interests, but to this point have not been used to map out a specific video community. Our study investigates whether and how user commenting behavior impacts the topology of the K-pop video community through analysis of co-commenting behavior on these videos. We apply a traditional author cocitation analysis to this behavior, in a process we refer to as co-comment analysis, to detect the topology of this community. This involves: a) an analysis of user co-comments to elicit the inclination of user homophily within the community; b) an analysis of user co-comments, weighted frequency of co-comments, to detect user interests in the community; and c) an analysis of user co-comments, weighted sentiment scores, to capture user opinions by polarity. The results indicate that users who comment on specific K-pop videos also tend to comment on topically similar YouTube videos. We also find that the number of comments made by users correlates with the degree of positivity of their comments. Conversely, users who comment negatively on K-pop videos are not inclined to form specific user groups, but rather present only their opinions individually.

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The cultural industry policies of the Korean government and the Korean Wave

Cited by 84 publications

References 30 publications

HallyuRevisited: Challenges and Opportunities for the South Korean Tourism

HallyuRevisited: Challenges and Opportunities for the South Korean Tourism

Creative Cluster Evolution: The Case of the Film and TV Industries in Seoul, South Korea

Identifying the topology of the K‐pop video community on YouTube: A combined Co‐comment analysis approach

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