Hearing the Korean Global: Hallyu in the Music of K-dramas

Abstract

know, a dissertation comes to fruition not by solo effort but through the help of many others who make it possible. It's no wonder they have a special section for this. This dissertation is not of my own doing, and I have lots of people to thank.My advisor, Dr. Su Zheng, has been a great guide during my years as a Ph.D. student. Her rigorous standards have become a benchmark in my own academic life and they urge me to always reflect and be responsible in my writing. Her way of scholarship inspires excellence, and I thank her for challenging me in the best ways and also for believing in me. I am also very grateful for her careful reading and valuable feedback on this dissertation.Dr. Mark Slobin gently dialogued with me when I sought him out with innocent questions about cultural appropriation early in my first semester. Dr. Slobin is inspiring in his broad thinking and I have a great respect for the way he approaches music and culture, and his ability to connect, compare, distill, and draw insight. I am deeply thankful for his guidance and support throughout the years.I am very thankful to Dr. Sumarsam, who stepped in at a late stage to be a part of my committee. He has given valuable comments that have helped to better refine my thoughts. I am also grateful to him for taking time to teach me gender during my years at Wesleyan; those lessons were a highlight for me.Dr. Ellen Widmer, who was originally a member of my committee, moved to another school while this dissertation was gestating. I am thankful for her advice, wisdom, and support during the early stages of this work, when she was still at Wesleyan.It has been an honor to study with professors who are committed to scholarship and to the discipline, and interested in their students. They have been exemplary in their virtuosic thinking, but they are also very nice people, and I am lucky to have been with them at Wesleyan.

The Influence Country of Origin on Purchase Intention Korean Food with Moderating Consumer Ethnocentrism on Generation Z in East Java

“…Korean food itself can be famous because it is often featured in Korean dramas and other events, which attracts the interest of the public, especially Generation Z. Through the data analysis of the Korean Foundation for International Culture Exchange (KOFICE) (Kim, 2021) the index of cultural strength that is the largest imported commodity in Indonesia is food and music at 74.6%, and the type of food product has the largest percentage of interest than other types of products at 70.8%. The existence of this data makes it no wonder that the emergence of Korean food trends in Indonesia is very popular with the public, especially Generation Z.…”

The Influences of Kopiko’s Product Placement in Korean Drama Towards Indonesian Korean Drama Viewers Purchase Intention

“…According to a 2020 study by the Indonesian Institute of Sciences (LIPI), 842 of the 924 respondents reported streaming Korean drama [4]. Many situations in Korean dramas display the use of product placement, either subtly or overtly [5]. One instance of product placement in a Korean drama was implemented by PT Mayora Indah Tbk with Kopiko in the drama series "Vincenzo," "Mine," and "Hometown Cha Cha Cha.…”

“…The term "Korean drama" itself describes television drama productions made in Korea that are presented as miniseries and are in the Korean language [11]. Additionally, there are numerous sequences in Korean dramas that openly or tacitly involve product placement [5]. Product placement, according to Belch and Belch is a method used to boost commercial campaigns for a product or service by creating the perception that it is essential to the movie's plot [12].…”

Vietnamese Reception Of Soft Masculinities In Korean Television Dramas: Desires, Identifications, And Gender

“…These popular dramas are sometimes also called "Korean Wave trendy dramas" or "Hallyu dramas" (Jeongmee Kim, 2012;Min Joo Lee, 2020), marking themselves from other non-romantic sub-genres of Korean dramas, such as horror, crime, or long-running family and period dramas. They are usually prime-time mini-series that broadcast two episodes a week and require higher production costs than other dramas (Hae Joo Kim, 2015).…”