Cultural Industry Policies and Strategies †Free Samples to Students

Question: Discuss about the Cultural Industry Policies and Strategies. Answer: Introcuction: The spread of the culture of Korea was initiated by the first TV shows of Korea known as the dramas that became one of the very popular shown in Asia. Then, came the great wave that was spread in the rest of the world that has become possible due to the internet. The popularity that has been associated with the drama has drawn a lot of attention of the cultures that are present in Korea (Lathrop, 2013). Moreover, the knowledge of music is an integral part of the drama as the main and popular songs are repeated very often during the various episodes namely SHINees Stand by Me, in the drama called Boys over Flowers. However, to understand the increasing form of the globalization of the K-pop music around the globe, it is very important to understand the key elements that are played by the companies that promote the management of the pop music (Song, 2015). Several management agencies in Korea that includes the S M Entertainment, the YG Entertainment and the JYP Entertainment takes the main actors of the industries of K pop and are usually referred to as the Big 3 because they have the strong amount of the market shares and the operations in the International markets. Each of the agencies have their own styles and focuses on the certain type of the music that mainly produces the Hip Hop and the R and B images, the SM specializations in the pop and the dance and the JYP and the RB dances and pop. The YG Entertainment has been founded by the former member of the Seo Taiji Boys[+], Yang Hyun-Suk (Lindsay, 2015). YG who are the recording the artists that are including the Big Bang, PSY, Seven and the 2NE1 and the companies have the partnerships with the various forms of the labels for managing the International releases such as countries like Thailand, China, Japan or in the Philippines. It has been observed that the first half of the YG Entertainment have recorded the sales of the revenue of more than seventeen billion (Song, 2015). The various Industry observers have reported that Mogul who was believed to have the vineyard of California is very much fascinated with the music. Of the biggest label of the S.M is considered to be the most formulaic and it is very much unclear that whether it will be involved in the diversification of the rock, electronica and rap. However, the market of Korea is in high demand of the pop music and it is clear niche that they wants to go beyond that which is tricky and they will do very well with the amount of resources and talent they possess. However, it has been observed recently that in Southern part of Korea that has done the recoup in those investments. For all sorts of the passion there are fans of the homegrown that have not been paying enough for the K pop music. It has also been found that the CD industry has come to a stagnant level and the sites are hugely underpriced with some of the charges that are just few cents for the songs. It has been reported by the company representatives that the advertisements bring in the far more amount of the sales of the music. The Korean musicians performs for the turf in the home, however, the main supply of the money comes actually from Japan. The act starts with making the money, they have the broken form of the business models that are been underpriced, and they are actually creeping to the activities that are based on abroad. The South Korean Government has been the keen object for promoting the new form of the international identity that has the rival of the image of being the cool cultures. The sole questions that have arisen are that whether the industry has been the famous for the music or due to their problems. References Lathrop, T. (2013).This Business of Global Music Marketing: Global Strategies for Maximizing Your Music's Popularity and Profits. Billboard Books. Song, M. (2015). Global online distribution strategies for K-pop: A case of Gangnam Style.Broadcasting and Communication,16(2), 85-121. Kwon, S. H., Kim, J. (2014). The cultural industry policies of the Korean government and the Korean Wave.International journal of cultural policy,20(4), 422-439. Hughes, D., Evans, M., Morrow, G., Keith, S. (2016).The New Music Industries: Disruption and Discovery. Springer. Lindsay, S. (2015).Masculinity and alcohol in postfeminist popular culture: teenage boys consume music videos: a thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Psychology at Massey University, Wellington, NZ(Doctoral dissertation, Massey University).