簡易檢索 / 詳目顯示

研究生: 蘇育瑩
Su, Yu-Ying
論文名稱: V LIVE直播平台、K-POP偶像的日常紀實與數位迷群
V LIVE, K-POP Idol’s Daily Record and Digital Fandom
指導教授: 胡綺珍
Hu, Kelly
口試委員: 胡綺珍
Hu, Kelly
蔡如音 柯裕棻
口試日期: 2021/12/23
學位類別: 碩士
Master
系所名稱: 大眾傳播研究所
Graduate Institute of Mass Communication
論文出版年: 2022
畢業學年度: 110
語文別: 中文
論文頁數: 151
中文關鍵詞: V LIVE直播平台偶像直播K-POP偶像迷群
英文關鍵詞: V LIVE, Live Streaming Platform, Idol Live Stream, K-POP Idol, Fans
研究方法: 文本分析網路田野觀察法
DOI URL: http://doi.org/10.6345/NTNU202200094
論文種類: 學術論文
相關次數: 點閱:248下載:106
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 近年來,各國明星開始紛紛經營起個人社群媒體,藉此與大眾進行溝通交流。其中,特別是現今風靡全球的韓國K-POP偶像,他們不只是使用社群媒體而已,還更積極地做起直播內容來與粉絲互動,帶起了韓國娛樂圈經營直播的盛行風氣。K-POP偶像這樣運用直播來提升個人能見度的模式,使得直播在內容面上的製作不斷變化且變得更加豐富,同時,也影響了直播平台的發展和追星文化的轉變。而這正是本研究將以文本分析與網路參與觀察來探討的核心內容。

    K-POP偶像做V LIVE直播打破了過往他們塑造形象的方式。透過直播無剪輯的拍攝,展示出他們各種日常生活,以真實的樣貌吸引觀眾與粉絲,且建立起親近感。不僅如此,更將「日常」當作一種類型,風格化直播的內容,藉此形塑自己個人直播的特色,以及讓粉絲和觀眾能夠從中獲得趣味。然而,在他們運用「日常」來紀錄跟包裝自己的同時,連帶的也將生活與工作交雜在一起,公私界線愈趨模糊,甚至更容易陷入公關危機之中。而這使得他們無法自由地直播所有事情給粉絲和觀眾看,不得不管制原本要呈現的「真實」。因此,即便直播是將偶像最貼近真實日常的一面呈現給大眾觀看,這樣所展示出的內容依舊有部分受到內部的審查,偶像並非完全脫下形象的面具。

    V LIVE直播平台的出現,讓偶像與粉絲有了新的溝通渠道來進行互動交流,並且產生出數位的親密關係,打造了新型態的追星生態。並且,藉由平台科技所形塑出的「現場感」,使得偶像與粉絲之間不再有強烈的距離感,而是意識到彼此是共存在當下的關係。然而,V LIVE的服務內容也不免帶給了粉絲和觀眾一種受制於官方、被其收編的感受。即使如此,V LIVE直播平台對於偶像、粉絲和K-POP圈的影響仍不可小覷,同時,其為韓流文化的發展出力,引領著持續高漲的聲勢,也有不少的貢獻。

    In recent years, celebrities around the world have started to run their social media to communicate with the public. Especially the K-POP idols who are popular all over the world nowadays. They not only use social media but also actively do live streaming content to interact with fans. It has become the tendency in the Korean entertainment industry by doing live streaming. The pattern of K-POP idols using live streaming to improve their visibility makes the production of live streaming content constantly changing and becoming more plentiful. Meanwhile, it affects the development of live streaming platforms and the transformation of idol-worshiping culture as well. In this article, we will discuss this main core by textual analysis and network participant observation.

    K-POP idols doing V LIVE breaks the way they used to show themselves. Through live streaming filming without editing, various kinds of idols’ daily lives are revealed in the public. It attracts audiences and fans with their real appearance and establishes a sense of intimacy at the same time. Not only taking "daily" as a category, idols also stylize the content of live streaming to shape the characteristics of their live streaming and make fans and audiences get fun from it. However, when they use "daily" to record and show themselves, their lives and works are mixed together. The line between public spheres and private space is blurred and even causes public relations crisis. It prevents idols from showing everything to their fans and viewers freely and forces them to limit what they want to be "real". Therefore, even if the live streaming is to show the most daily life image of the idol to the public, some of the contents revealed in this way are still subject to internal censorship, the idols are not completely taken off their mask of perfect image.

    With the emergence of V LIVE, idols and fans have a new communication channel to interact and communicate. The digital intimacy has also been generated between idols and fans, and a new type of idol-worshiping ecology established. In addition, the "Liveness" created by the platform technology makes idols and fans no longer have strong sense of distance, but realize that their relationship coexists at that moment. However, the service of V LIVE gives fans and viewers a feeling that they are under the control of this platform and being cooptation. Even so, the influence of V LIVE on idols, fans, and the K-POP field cannot be underestimated. At the same time, it contributes to leading the continuous upsurge of momentum, having a lot of contributions to the development of Korean wave culture.

    第一章 緒論 1 第一節 研究緣起 1 第二節 研究背景 4 一、直播崛起的那些大小事 4 二、韓國直播服務的緣起與現在進行式 7 三、韓國首創——專屬明星的V LIVE直播平台 9 第三節 研究動機 14 第二章 網路直播、偶像與粉絲 17 第一節 從「深入直播」再到「直播與偶像相遇」 17 一、Live On Air:當代直播之定義 17 二、誰在做「直播」?為何而做? 18 三、直播平台的符擔性 20 四、K-POP偶像與直播新媒體 21 第二節 數位空間裡的韓國偶像與粉絲 24 一、直播影像中的新景觀:偶像的「真實」生活紀錄 24 二、走向數位化的粉絲實踐 26 三、粉絲與偶像之間的「數位親密」和「隱私侵犯」 27 第三節 改變韓國偶像與粉絲互動生態的推手 30 一、一步步投入數位科技懷抱的K-POP文化 30 二、追求科技中介下的「現場感」 31 第四節 研究問題 33 第三章 研究方法 34 第一節 研究取徑 34 一、文本分析與資料蒐集 35 二、網路田野觀察法 37 第四章 V LIVE直播中的K-POP偶像 39 第一節 貼近K-POP偶像的日常生活 39 一、K-POP偶像也是普通人 39 二、將日常風格化的偶像直播 47 三、直播也是工作的一部份 60 第二節 潛藏的危機與秩序的失控 64 一、赤裸裸的窺探:陷入隱私洩漏問題的偶像 64 二、闖禍了:失控的即時現場 68 三、並非完全「自由」的直播 73 第五章 K-POP偶像與粉絲在V LIVE上的互動關係 80 第一節 偶像、粉絲與V LIVE共同建構的數位交流 80 一、偶像與粉絲在直播中的各種互動 80 二、被偶像點名的天選之人 95 三、創造現場感,引領直播互動新方向 98 第二節 受制於偶像與V LIVE直播平台的粉絲 103 一、偶像的官方經營 103 二、打開粉絲錢包的V LIVE直播平台 105 第六章 結論 110 第一節 關於V LIVE直播平台、偶像與粉絲 110 一、獨樹一幟的韓國偶像直播生態 110 二、偶像與粉絲的互動新形式及不斷發展的線上追星體驗 111 三、小結:偶像直播的意義 113 第二節 未來研究建議 115 一、多加觀察其他偶像團體、對粉絲進行訪談 115 二、商業合作與投資,新平台的誕生? 115 三、開拓直播新技術所產生的需求? 116 參考文獻 117 附錄一 V LVE 頻道追蹤人數TOP10排名 128 附錄二 TWICE頻道直播影音分類列表 129 附錄三 V LVE 直播平台主要區塊(服務介面) 143 附錄四 V LVE 直播平台主要功能 146

    一、中文文獻
    王映涵(譯)(民101)。《迷與消費》(原作者:Cornel Sandvoss)。新北市:韋伯文化國際。(原著出版年:2005)
    江佩蓉(2004)。想像的文化圖景:韓流與哈韓族在台灣。國立政治大學新聞研究所碩士論文,台北市。
    李雅筑(2013)。韓國流行音樂的視覺文化──以「少女時代」MV的看/用經驗為例。國立臺灣大學新聞研究所碩士論文,台北市。
    朴允善、張寶芳、吳靜吉(2014)。《韓國流行音樂全球化之旅「SM娛樂」的創新實踐》。台北:遠流。
    林祐聖、葉欣怡(譯)(民92)。《消費文化與現代性》(原作者:Don Slater)。臺北市:弘智文化。(原著出版年:1997)
    姚建華、徐偲驌(2019)。〈勞動的「媒介化」與媒介的「勞動化」: 數位勞動研究的內涵、現狀與未來〉。《新聞學研究》,141,181-214。
    郭家平(2007)。台灣女性韓劇迷的收視經驗及認同過程。國立交通大學傳播研究所碩士論文。
    陳怡如(2017.02.10)。〈走過直播元年,四個趨勢看2017年直播發展〉,《Verizon Media威訊媒體》,上網日期:2020年7月25日,取自https://yahoo-emarketing.tumblr.com/post/155064290396/novyr
    陳佩鈺(2013)。台灣韓流偶像迷群對應援文化的實踐與認同。國立臺灣師範大學大眾傳播研究所碩士論文,台北市。
    陳皓嬿(2018.12.06)。〈【產業案例】TWICE轉型超詳細解析(三):用「蠶食轉型」保留大家喜歡的可愛,找回TWICE帥氣的初衷〉,《大娛樂時代》,上網日期::2021年4月24日,取自 https://newmegaentertainment.wordpress.com/2018/12/06/twice-trans03/
    陳曉莉(2019.06.13)。〈2019年Meeker網路趨勢報告:上網人口超過全球人口數的一半,半數集中在亞太地區〉,《iThome電腦報週刊》,上網日期:2020年7月26日,取自https://www.ithome.com.tw/news/131244
    張玉佩(2005)。〈從媒體影像觀照自己:觀展/表演典範之初探〉。《新聞學研究》,82:41-85。 
    曹家榮(2008)。〈MSN Messenger 的媒介訊息:從符擔性看 MSN 人際關係展演〉。《資訊社會研究》,14,133-166。
    許如婷(2014)。〈台灣閱聽眾之實境/真人秀《Running Man》節目觀看的「迷」身份實踐〉。《國際文化研究》,10(1):25-55。
    凱絡媒體週報(2016.05.05)。〈專題報告:向世界進軍!韓國流行音樂全球化行銷策略〉,《凱絡媒體週報·數位智庫》,上網日期:2020年9月30日,取自https://twncarat.wordpress.com/2016/05/05/專題報告:向世界進軍!韓國流行音樂全球化行銷/
    凱絡媒體週報(2016.05.19)。〈專題報告:新眼球戰爭!探網路直播節目決勝點〉,《凱絡媒體週報·數位智庫》,上網日期:2020年11月26日,取自https://twncarat.wordpress.com/2016/05/19/專題報告:新眼球戰爭!探網路直播節目決勝點/
    黃卉君(2018)。閱聽者持續使用偶像直播平台關鍵因素之研究─以 V LIVE 為例。國立臺北教育大學文化創意產業經營學系碩士論文,台北市。
    黃閔慧(2016)。韓國真人實境節目《超人回來了》之 台灣閱聽人解讀分析。國立政治大學新聞學系碩士論文,台北市。
    鄭淑鈴(譯)(民101)。《大明星:慾望、迷戀與現代神話》(原作者:Edgar Morin)。臺北市:群學出版。(原著出版年:1957)
    蕭佑和(2017.06.18)。〈寂寞商機來襲!直播平台到底在紅什麼?〉,《大和有話說》,上網日期::2020年7月27日,取自https://dahetalk.com/2017/06/18 /寂寞商機來襲!直播平台到底在紅什麼?|大和有/
    鍾志鵬(2005)。韓劇崛起關鍵因素之研究-韓流現象的觀察與學習。國立臺灣師範大學運動與休閒管理研究所在職碩士班碩士論文,台北市。
    謝明璇(2017.02.23)。〈2017全球網路使用調查報告:網路、社群、手機就是我們日常生活〉,《SmartM新網路科技》,上網日期:2020年7月25日,取自https://www.smartm.com.tw/article/33313939cea3
    羅瑞瑜(2019.03.29)。〈從冬季戀歌到防彈少年團──韓國文創如何打造韓流席捲全球?〉,《換日線》,上網日期:2020年12月28日,取自https://crossing.cw.com.tw/article/11521
    蘇柔郡、吳筱玫(2018)。〈高中女生使用 Instagram 之日常美學:符擔性觀點〉。《新聞學研究》,135,139-191。

    二、英文文獻
    Abercrombie, N., & Longhurst, B. J. (1998). Audiences: A Sociological Theory of Performance and Imagination. London: Sage. 
    Abidin, C. (2018). Internet celebrity: Understanding fame online. Emerald Group Publishing.
    Ahn, J., Oh, S., & Kim, H. (2013, July). Korean pop takes off! Social media strategy of Korean entertainment industry. In 2013 10th International Conference on Service Systems and Service Management (pp. 774-777). IEEE.
    Audrezet, A., de Kerviler, G., & Moulard, J. G. (2020). Authenticity under threat: When social media influencers need to go beyond self-presentation. Journal of business research, 117, 557-569.
    Bennett, L. (2014). Tracing textual poachers: Reflections on the development of fan studies and digital fandom. The Journal of Fandom Studies, 2(1), 5-20.
    boyd, D. (2010). Social network sites as networked publics: Affordances, dynamics, and implications. In A Networked self: Identity, community, and culture on social network sites, 39, 58.
    Chambers, D. (2013). Social media and personal relationships: Online intimacies and networked friendship. Springer.
    Debord, G. (1970). The Society of the Spectacle, translation by Fredy Perlman and Jon Supak. Detroit: Black & Red.
    DOAN, B. H. (2014, December 17). The Korean Wave : how Social Media became its best tool for Globalization [Web blog message]. Retrieved from https://www.linkedin.com/pulse/korean-wave-how-social-media-bich-huyen-doan/
    Dyer, R. (1998) [1979]. Stars. London: British Film Institute.
    Fietkiewicz, K. J., Dorsch, I., Scheibe, K., Zimmer, F., & Stock, W. G. (2018). Dreaming of stardom and money: Micro-celebrities and influencers on live streaming services. In International Conference on Social Computing and Social Media (pp. 240-253). Springer, Cham.
     Garfinkel, S. (2001). Database Nation: The Death of Privacy in the 21st Century.  Sebastopol, CA: O’Reilly Media.
    Gaver, W. (1991). Technology affordances. In Proceedings of the SIGCHI Conference on Human Factors in Computing System (pp. 79-84). Retrieved from http://www.it.hiof.no/interaction-design/papers/gaver1991ta.pdf
    Gibson, J. J. (1979). The ecological approach to visual perception. Boston, MA: Houghton Mifflin.
    Grimmelmann, J. (2009). Facebook and the Social Dynamics of Privacy. Iowa Law Review, 94, 1137-1206
    Grossberg, L. (1992). Is there a fan in the house? The affective sensibility of fandom. In L. A. Lewis (Eds.), The adoring audience: Fan Culture and Popular Media (pp. 50–68). New York: Routledge.
    Ham, M., & Lee, S. W. (2020). Factors Affecting the popularity of video content on live-streaming services: Focusing on V Live, the South Korean live-streaming service. Sustainability, 12(5), 1784.
    Hilvert-Bruce, Z., Neill, J. T., Sjöblom, M., & Hamari, J. (2018). Social motivations of live-streaming viewer engagement on Twitch. Computers in Human Behavior, 84, 58-67.
    Hutchby, I. (2001). Technologies, texts and affordances. Sociology, 35(2), 441-456.
    Jamieson, L. (2011). Intimacy as a concept: Explaining social change in the context of globalisation or another form of ethnocentricism?. Sociological research online, 16(4), 151-163.
    Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York: New York University Press.
    Jerslev, A. (2016). Media times| in the time of the microcelebrity: celebrification and the YouTuber Zoella. International Journal of Communication, 10, 19.
    Jin, D. Y., & Yoon, K. (2016). The social mediascape of transnational Korean pop culture: Hallyu 2.0 as spreadable media practice. New media & society, 18(7), 1277-1292.
    Jung, E. Y., Lee, S., & Nornes, A. M. (2015). K-Pop Idols, Social Media, and the Remaking of the Korean Wave. Korean Wave in the Age of Social Media, 73-89.
    Jung, S. (2014). Youth, social media and transnational cultural distribution: the case of online K-pop circulation. In A. Bennett & B. Robards (Eds.), Mediated Youth Cultures (pp. 114-129). London: Palgrave Macmillan.
    Kellner, D. (2003). Media spectacle. London, England, and New York: Routledge. 
    Kim, J. O. (2021). BTS as method: a counter-hegemonic culture in the network society. Media, Culture & Society, 43(6), 1061-1077.
    Kim, S. Y. (2018). Historicizing K-POP. In S. Y. Kim (Eds.), K-Pop Live: Fans, Idols, and Multimedia Performance (pp. 25-52). Stanford, CA : Stanford University Press.
    Kim, S. Y. (2018). Hologram Stars Greet Live Audiences. In S. Y. Kim (Eds.), K-Pop Live: Fans, Idols, and Multimedia Performance (pp. 129-160). Stanford, CA : Stanford University Press.
    Kim, Y. (2018). “Sell your loneliness: Mukbang culture and multisensorial capitalism in South Korea” in Routledge handbook of cultural and creative industries in Asia. eds. L. Lim and H. K. Lee (London, UK: Routledge), 225-238.
    King-O’Riain, R. C. (2020). “They were having so much fun, so genuinely...”: K-pop fan online affect and corroborated authenticity. New Media & Society. doi: 10.1177/1461444820941194.
    Kowalczyk, C. M., & Pounders, K. R. (2016). Transforming celebrities through social media: the role of authenticity and emotional attachment. Journal of Product & Brand Management, 25(4), 345-356.
    Lee, S. (2015). A Decade of Hallyu scholarship: Toward a new direction in Hallyu 2.0. University of Michigan Press. 
    Li, H., & Jung, S. (2018). Networked audiences and cultural globalization. Sociology Compass, 12(4), e12570. doi: 10.1111/soc4.12570
    Lomanowska, A. M., & Guitton, M. J. (2016). Online intimacy and well-being in the digital age. Internet interventions, 4, 138-144.
    Lupinacci, L. (2020). ‘Absentmindedly scrolling through nothing’: liveness and compulsory continuous connectedness in social media. Media, Culture & Society, 43(2), 273-290. doi: 10.1177/0163443720939454.
    Malik, Z., & Haidar, S. (2020). Online community development through social interaction—K-Pop stan twitter as a community of practice. Interactive Learning Environments, 1-19.
    Markus, M.L. and Silver, M.S. (2008), “A foundation for the study of IT effects: a new look at DeSanctis and poole’s concepts of structural features and spirit”, Journal of the Association for Information Systems, 9(10), 609-632.
    Marwick, A. E. (2010). Status update: Celebrity, publicity and self-branding in Web 2.0 (Doctoral dissertation, New York University).
    Marwick, A. E. (2013). Status update: Celebrity, publicity, and branding in the social media age. Yale University Press.
    Marwick, A. E. (2015). Instafame: Luxury selfies in the attention economy. Public culture, 27(1 (75)), 137-160.
    Mullen, J.E. (2010). Lifestreaming as a Life Design Methodology (Master’s thesis). Retrieved from https://repositories.lib.utexas.edu/handle/2152/ETD-UT-2010-05-1323
    Negroponte, N. (1995). Being Digital. New York: Alfred A. Knopf.
    Norman, D. (2013). The design of everyday things. New York, NY: Basic Books.
    Oh, I., & Lee, H. J. (2014). K-pop in Korea: How the pop music industry is changing a post-developmental society. Cross-currents: East Asian history and culture review, 3(1), 72-93.
    Oh, I., & Park, G. S. (2012). From B2C to B2B: Selling Korean pop music in the age of new social media. Korea Observer, 43(3), 365-397. 
    Oliker, S. (1998) ‘The Modernization of Friendship: Individualism, Intimacy andGender in the Nineteenth Century’, in Adams, R. and Allan, G. (eds.), Placing Friendship in Context. Cambridge: Cambridge University Press, pp. 18–42
    Prager, K.J. (1997). The psychology of intimacy. The Guilford Press, New York, NY.
    Raun, T. (2018). Capitalizing intimacy: New subcultural forms of micro-celebrity strategies and affective labour on YouTube. Convergence, 24(1), 99-113.
    Reade, J. (2020). Keeping it raw on the ‘gram: Authenticity, relatability and digital intimacy in fitness cultures on Instagram. New Media & Society. doi: 10.1177/1461444819891699.
    Sawyer, S., Griffiths, M., Light, B., Lincoln, S., Bateman, P. J., Pike, J. C., & Butler, B. S. (2011). To disclose or not: Publicness in social networking sites. Information Technology & People.
    Senft, T. M. (2008). Camgirls: Celebrity and community in the age of social networks (Vol. 4). Peter Lang.
    Sjöblom, M., & Hamari, J. (2017). Why do people watch others play video games? An empirical study on the motivations of Twitch users. Computers in human behavior, 75, 985-996.
    Song, J. E. & Jang, W. H. (2013). Developing the Korean wave through encouraging the participation of YouTube users: the case study of the Korean wave youth fans in Hong Kong. The Journal of the Korea Contents Association,13(4): 155–169.
    Taylor, T. L. (2018). Home Studios : Transforming Private Play into Public Entertainment. Watch Me Play: Twitch and the Rise of Game Live Streaming (pp.66-135). Princeton, NJ : Princeton University Press.
    Taylor, T. L. (2018). Live Streaming as Media. Watch Me Play: Twitch and the Rise of Game Live Streaming (pp.252-262). Princeton, NJ : Princeton University Press.
    Van Dijck, J. (2009).  Users like you: Theorizing agency in user‐generated content. Media, Culture and Society, 31(1),  41-58.
    Wang, S. (2020). Chinese affective platform economies: dating, live streaming, and performative labor on Blued. Media, Culture & Society, 42(4), 502-520.
    Wang, W., & Skovira, R.J. (2017, August). Authenticity and Social Media. Paper presented at Twenty-third Americas Conference on Information Systems, Boston, Massachusetts, USA.
    Wang, Z. (2020). The Complicated Digital Fandom: Empowerment and Exploitation of Fans in Digital Media Era. Humanities and Social Sciences, 8(2), 45.
    Zhang, Q., & Negus, K. (2020). East Asian pop music idol production and the emergence of data fandom in China. International Journal of Cultural Studies, 23(4), 493-511. doi: 10.1177/1367877920904064.

    三、韓文文獻
    MIAOJING(2018)。《브이라이브의 음악 방송 관람자수 결정 요인에 대한 연구》(對V LIVE音樂直播觀看人數決定因素的研究)。홍익대학교대학원 문화예술경영학과 석사학위논문(弘益大學文化藝術經營研究所碩士學位論文)。
    김하진(Kim Ha Jin)(2016.08.31)。《아이돌의 행보, 소통주의 VS 신비주의》(偶像的步伐,溝通主義VS 神秘主義)。tenasia。上網日期:2021年6 月25日,取自https://tenasia.hankyung.com/music/article/2016083156134
    류은주(Ryu Eun Joo)、변정민(Byun Jeong Min)(2019)。《K-Pop 의 한류 지속을 위한 소셜 미디어 활용 방안에 대한 고찰》(考察為了維持K-POP韓流而活用社交媒體的方案)。문화와 융합(文化與融合),41,167-218。
    이고운(Lee Go Woon)(2020)。《아이돌 1인 미디어의 비언어 커뮤니케이션이 수용자 충성도에 미치는 영향:방탄소년단 V LIVE 채널을 중심으로》(偶像1人媒體的非語言交流對受眾忠誠度產生的影響:以防彈少年團 V LIVE頻道為中心)。한양대학교융합산업대학원 석사학위논문(漢陽大學融合產業研究所碩士學位論文)。
    이규탁(Lee Gyu Tak)(2016)。《실시간 인터넷 방송과 케이팝, 그리고 수용자-네이버'브이앱'을 중심으로》(實時網路直播與K-POP,還有用戶–以Naver Vapp為中心–)。한국소통학회 학술대회(韓國交流學會學術大會),229-232。
    이미나(Lee Mi Na)、홍주현(Hong Joo Hyun)(2020)。《소셜미디어를 통한 글로벌 팬덤 확산에 관한 연구-방탄소년단 관련 트윗 분석》(透過社群媒體擴散全球粉絲的研究-防彈少年團推特分析)。영상문화콘텐츠연구(影像文化內容研究),19,7-32。
    이상원 (Lee Sang Won)(2021.02.10)。《이 시대 대중음악 속 BTS의 좌표는?》(這個時代的大衆音樂中,BTS的處境是?)。시사IN。上網日期:2021年6 月25日,取自https://www.sisain.co.kr/news/articleView.html?idxno=43893
    이상호(Lee Sang Ho)(2020.02.12)。《[한류 4.0]① 한류 30년... ‘기생충 쾌거' 바탕 한류 4.0 시대로 도약해야》([韓流4.0] ① 韓流30年…以“寄生蟲壯舉”為基礎,韓流要飛越到4.0時代)。news2day。上網日期:2020年8 月8日,取自https://www.news2day.co.kr/148022
    이상호(Lee Sang Ho)(2020.02.14)。《[한류 4.0] ③‘한류 4.0’ 도약위한 4대 과제 중 두 번째...콘텐츠 다양화》([韓流4.0] ③爲了“韓流4.0”飛躍的四大課題中的第二個...內容多樣化)。news2day。上網日期:2020年8月8日,取自https://www.news2day.co.kr/148171
    조사분석팀(調查分析組)(2016.12.30)。《2016 언론수용자 의식조사〉(2016 言論接收者意識調查)。한국언론진흥재단(韓國言論振興財團),p.44。取自https://www.kpf.or.kr/front/research/consumerDetail.do
    한국콘텐츠진흥원(KOCCA韓國內容振興院)(2014.07.11)。《한류 3.0시대 새로운 고객, 국내 체류 외국인》(韓流3.0時代的新顧客,旅居國內的外國人)。한국콘텐츠진흥원(KOCCA韓國內容振興院)。上網日期:2020年8月 8日,取自shorturl.at/fnuCH

    下載圖示
    QR CODE