Screencast-O-Matic and Distance Education

Screencast-O-Matic and Distance Education

 

Screencast O Matic logo
Screencast-O-Matic logo.

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

It used to be that if you wanted to browse a library’s bookshelves, check out a book, or ask a quick (or deeper) reference question, you had to visit the brick-and-mortar library building. However, that is not the case anymore – modern libraries have online catalogs that users can search, and those catalogs often include electronic books that can be downloaded into commercial e-readers and tablets. For those of us who prefer paper versions, those same catalogs offer features like remote requesting, book reservations, and even tagging options so you can tell other readers about the book using short and sweet descriptors.  

All of that is very exciting, but what happens if you’re not familiar with how libraries work (and you don’t want to drive/use transit to visit a library to find out)? After all, library anxiety is a real phenomenon that affects lots of library users. The term, coined by Mellon (1986), describes the initial fear that library users (in her study, college students) face when having to look for information in an academic library. Significant reasons behind their worries included:

  • the perception that their ability to use the library is lacking while others’ skills are good
  • their lack of skill is a source of shame
  • asking for help will expose their inability to use the library effectively  (160)

Subsequent library anxiety studies echo Mellon’s findings, expanding them to other library user groups and focusing on affective aspects  (Qun & Onwuegbuzie, 1998; Onwuegbuzie & Qun, 2000).

To help mitigate users’ concerns about the library (and to avoid that pesky physical library visit), I use tools that help me implement distance education. One tool I use is Screencast-O-Matic, which I discovered during my work here at KPK.

What is Screencast-O-Matic?

Screencast-O-Matic (SOM) is an online tool that records computer screen activity. The service also hosts SOM videos, creating a library for account users. Users can make their videos public via Screencast-O-Matic, download the files to their personal computers, or upload their files directly to YouTube.

SOM is a freemium service: a basic account with some features is free, and users can pay a yearly fee to get advanced features like longer recording times, video editing tools, and more. One cool feature that comes with the free version: users can annotate sections of videos – a great help for referencing web links, readings, and other important points that may be discussed in a teaching video.

Screencast-O-Matic at KPK

As I mentioned earlier, I learned about SOM while doing research for KPK projects. I needed a tool that would record Hallyu-related websites, and I also wanted to be able to keep videos showcasing artists and groups from the same entertainment company together. I also wanted to be able to host all of the videos in one place and download the files for future maintenance or archiving if needed. Since SOM allows me to do all of these things, I began using it for KPK’s Digital Documentation project. At post time, there are over 500 video recordings, which are included in other KPK projects, including KPOPIANA.

Distance Learning with Screencast-O-Matic

One of the things I do as an academic librarian is create tutorials that help people understand how to effectively use library tools like the online catalog, article link resolvers, and databases. I also give lectures to students in graduate Library and Information Science (LIS) programs.

SOM allows me to create on-the-fly tutorials for students when they stop in for Research Consultations or pop-in for a virtual visit at our library’s Ask A Librarian chat page. Since SOM creates unique links for each video, I’m able to send it to users and alert them to download the file for their own use whenever they need a refresher (yay, library anxiety reduction!). 

I also use SOM in tandem with Prezi, a presentation software, for my LIS graduate school lectures. That unique SOM link means that I can teach asynchronously – students can access my lectures on their own time and leave comments about my talk at the video site. I often use the video annotation feature to reference portions of my talk with readings they’ve been assigned.

Information Literacy Standards*: 1, 3, 4

The Screencast-O-Matic Interface.
The Screencast-O-Matic Interface. Credit: Kaetrena Davis Kendrick, M.S.L.S.

SOM is very easy to use. All that’s needed is a computer, an Internet connection, and if you plan to talk, a good quality headset. Do you use screencast software? Which ones are your favorites and why? Share what you’re doing and what you’ve learned during your own screencasting activities in the comment section.

*ACRL Information Literacy Competency Standards for Higher Education published in 2000. ACRL is currently updating these standards, and you may find the ACRL’s more current Framework for Information Literacy for Higher Education document helpful.

 

Sources

Mellon, C. (1986). Library anxiety: A grounded theory and its development. College & Research Libraries, 47(2): 160-165.

Onwuegbuzie, A. J. & Qun, G. J. (2000). “I’ll go to the library later: The relationship between academic procrastination and library anxiety.” College & Research Libraries, 61(1), 45-54.

Qun, G.J. & Onwuegbuzie, A. J. (1998). “Perfectionism and library anxiety among graduate students.” Journal of Academic Librarianship, 24(5), 365-71.

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Evernote as a Research Tool

Evernote as a Research Tool

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Evernote Icon
                                Evernote

KPK has been focused on several digital curation projects for several years now (e.g., Kpopiana, Digital Documentation, etc.). In that effort, we use lots of applications and tools that we’ve also found very useful for teaching and learning. Today I’ll discuss a tool called Evernote and share with you how I apply it at KPK and when I work with students who need research assistance.

What is Evernote?

Evernote is a set of applications that help users capture, organize, and archive digital (or analog) information for use. Items saved in Evernote are called Notes, and Notes can be anything: documents, websites (or parts of websites), photos, and more. The most popular – and easiest – way to import Notes into Evernote is through a browser extension called the Evernote Web Clipper that captures them as users browse and search for information on the Internet.  Notes can be annotated by adding tags to them, and the notes can also be categorized into folders. Other things users can do with the notes include adding comments, exporting, and sharing them via social networks. 

Evernote is a “freemium” service; that is, there is a free version that offers basic access and features, and more advanced iterations of the product include a fee for more storage and upgraded features.

Evernote at KPK

At KPK, Evernote houses our Information Archive. I add news articles about important or interesting Hallyu developments, some scholarly documents, and links to websites. I’ve created a tagging architecture for any notes that get included in the archive and periodically check the notes for tagging integrity. At post time, the Information Archive contains 909 notes. In addition to providing a real-time archive of Hallyu history, the archive provides support for the scholarly communication efforts of KPK members, including the Hallyu Bibliography.

Evernote Use in the Research Process

As an information professional, one of the services I offer is called Research Consultations. Research Consultations are meetings I have with faculty or students to address in-depth reference questions and other information-seeking processes.

There are several information-seeking models, and all of them include a stage wherein a person recognizes the space between their information need and the answer that will resolve it. Belkin (1980) called it an Anomalous State of Knowledge; in her sense-making metaphor, Dervin (1992) recognized the cognitive gap; and Kulthau’s process (1993) starts with recognition of uncertainty. 

During this stage, many people’s attempts to reconcile their need include several Google searches.  I’ve found that Evernote is a great tool to help students hone their information-seeking skills, especially when they browse the Internet during their initial research processes. Evernote can help students:

  • Perform Internet searches with more confidence since Evernote can save items that they can look at later (information evaluation)
  • Organize their thoughts as they tag their notes. Students can use these tags as keywords which, in turn, can help them create subsequent search strings to refine their question. Tagging also helps students see relationships between their ideas (determination of what information is needed)
  • Practice ethical information usage by archiving copyright and ownership data for more accurate citations. Evernote captures notes as they appear on the date of access, so items like author names, publishing year, and other information that many citation formats require are easily accessible, even if the original website is no longer available (ethical use of information)

Information Literacy Standards*: 1, 2, 5

The Evernote interface. Credit: Evernote.
The Evernote interface. Credit: Evernote, http://bit.ly/1CJZ5FS

In addition to these benefits, Evernote is relatively easy to use and has a low learning curve – many students have already acquired the basic skills required to use the tool – namely, downloading applications and tagging information (thanks, Twitter and Instagram!). Moreover, Evernote is also available for download on handheld devices, so students can access their notes anywhere they have wi-fi or wireless carrier service.

Are you using Evernote to help you in your research efforts? Have you told your students about how Evernote can help them get their work done? Tell us how about how you’re using Evernote for your teaching and scholarly activities in the comment section below.

*ACRL Information Literacy Competency Standards for Higher Education published in 2000. ACRL is currently updating these standards, and you may find the ACRL’s more current Framework for Information Literacy for Higher Education document helpful.

 

Sources

Belkin, N.J. (1980). Anomalous states of knowledge as a basis for information retrieval. The Canadian Journal of Information Science, 5: 133-143.

Dervin, B. (1992). From the mind’s eye of the user: The sense-making qualitative-quantitative methodology. In Glazier, J. and Powell, R. R. Qualitative research in information management (p. 61-84). Englewood, CA: Libraries Unlimited.

Kulthau, C. (1993). A principle of uncertainty for information seeking. Journal of Documentation, 49(4), 339-355.

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CONFERENCE ABSTRACT (Panel Session): The Collective on 2/19/2015

Doing DH Library-Style

The Collective

Knoxville, TN • February 19-20, 2015

Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster

This panel session reviews the meaning of Digital Humanities within the Library and Information Science framework, explores how the discipline is being applied in library settings, and demonstrates how DH projects support and serve library users and other stakeholders. Kendrick’s portion of the session will delve into pedagogical applications (information literacy support), research and instruction collaborations with other teaching faculty members, and other opportunities for leadership using DH tools and applications. More here.

For Your Reading Pleasure: A Hallyu Bibliography, Part 5: GENDER and SEXUALITY

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 5 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL + F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled For Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 , Part 2, Part 3  and Part 4 of the bibliography.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

GENDER and SEXUALITY

Cho, Eun Sun. (2005). The stray bullet and the crisis of Korean masculinity. In N. Abelmann and K. McHugh (Eds.), South Korean Golden Age Melodrama. pp.99-116. Detroit: Wayne State University Press.

Hilts, Janet Flora. (2006). Seo Taiji 1992-2004: South Korean popular music and masculinity. Thesis, York University.

Jung, Sun. (2006). Bae Yong-Joon, hybrid masculinity & the counter-coeval desire of Japanese female fans. Particip@tions 3(2). Accessed 22 August 2012 from http://www.participations.org/volume%203/issue%202%20-%20special/3_02_jung.htm

Lin, Angel and Avin Tong. (2007). Crossing boundaries: male consumption of Korean TV dramas and negotiation of gender relations in modern day Hong Kong. Journal of Gender Studies, 16(3): 217-232.

Murphree, Hyon Joo Yoo. (2008). Transnational cultural production and the politics of moribund masculinity. East Asia Cultures Critique, 16(3): 661-688.

Saeji, CedarBough T. (2009). Korean pop culture: The border crossing heroines of Hallyu. Presented as part of the University of California, Los Angeles’ International Institute program, “Chew on this: A series of artist, academic and choreographic presentations by world arts and cultures graduate students and faculty. Accessed 28 August 2012 from http://www.international.ucla.edu/calendar/showevent.asp?eventid=7381

Chang, Youngchi. (2009). Singles in Seoul: Korean femininity and western postfeminism in popular media. Thesis, University of Wisconsin-Milwaukee.

Crieghton, Millie. (2009). Japanese surfing the Korean wave: Drama tourism, nationalism, and gender via ethnic eroticisms. Southeast Review of Asian Studies, 31: 10-38. Accessed 2 November 2011 from http://www.uky.edu/Centers/Asia/SECAAS/Seras/2009/SERAS_2009.pdf#page=36

Davies, Gloria, M.E. Davies and Young-A Cho. (2010). Hallyu ballyhoo and Harisu: Marketing and representing the transgendered in South Korea. In Black, D., Stephen Epstein and Alison Tokita (Eds.) Complicated Currents. Clayton, Victoria, Australia: Monash University ePress. Accessed 24 August 2012 from http://books.publishing.monash.edu/apps/bookworm/view/Complicated+Currents/122/xhtml/chapter9.html

Jung, Eun-Young. (2010). Playing the race and sexuality cards in the transnational pop game: Korean music videos for the U.S. market. Journal of Popular music studies, 22(2): 219-236.

Jung, Sun. (2010). Chogukjeok Pan-East Asian soft masculinity: Reading Boys Over Flowers, Coffee Prince and Shinhwa fan fiction. In Black, D., Stephen Epstein and Alison Tokita (Eds.) Complicated Currents. Clayton, Victoria, Australia: Monash University ePress. Accessed 24 August 2012 from http://books.publishing.monash.edu/apps/bookworm/view/Complicated+Currents/122/xhtml/chapter8.html

Maliangkay, Roald. (2010). The effeminacy of male beauty in Korea. The Newsletter, no.55 (Autumn/Winter): 6-7. Accessed 22 November 2011 from http://iias.asia/files/iias_nl55_0607.pdf

Chan, Brenda. (2011). Of prince charming and male chauvinist pigs: Singaporean female viewers and the dream-world of Korean television dramas. International Journal of Cultural Studies, 14(3): 291-305.doi: 10.1177/1367877910391868

Kim, Joo Mee and Se Yeong Shin. (2011). The study on fashion, beauty, design and emotional image by external image type of Korean male idol stars. Fashion Business, 15(6):71-84. abstract here: http://www.papersearch.net/view/detail.asp?detail_key=1k901120

Kim, Yeran. (2011). Idol republic: the global emergence of girl industries and the commercialization of girl bodies. Journal of Gender Studies, 20(4): 333-345. DOI:10.1080/09589236.2011.617604

Kim, Jeongmee. (2012). My Lovely Sam-Soon: Absent sex and the unbearable lightness of sweet Korean romance. In J. Aston, B. Glynn and B. Johnson (Eds.) Television, Sex and Society: Analyzing Contemporary Representations. pp. 111 – 124. New York: Continuum International Publishing Group.

Lie, John. (2013). Why didn’t “Gangnam Style” go viral in Japan? Gender divide and subcultural heretogenity in contemporary Japan. Cross-Currents: East Asian  History and Culture Review, (9): 44-67. Accessed 16 June 2016 from https://cross-currents.berkeley.edu/e-journal/issue-9/lie 


Park, Michael K. (2015). Psy-Zing up the mainstream of “Gangnam Style”: Embracing Asian masculinity as neo-minstrelsy? Journal of Communication Inquiry, 39(3): 195-212.

Happy Reading!

KDK/Nunee (M.S.L.S.)

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The Digital Documentation Project: An Update

The Digital Documentation Project: An Update

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

During KPK’s early days in 2011, Dr. Anderson and other KPK founders were having quite a difficult time accessing some Kpop entertainment companies’ artist websites.  They kept encountering what they called, “the circle of death,” and then timing out. I wasn’t having this problem and had just discovered the Screencast-O-Matic tool, so I decided to record the sites and send the video links to my KPK colleagues.

Interweb troubles in 2011....DD to the rescue!
Interweb troubles in 2011….DD to the rescue!

And that is how the the KPK Digital Documentation (DD) project was born.

While the original intent of my website recordings was to share the Kpop website love, I quickly realized that recording Kpop websites could be useful in other ways: to track changes in Kpop web design, to understand how Korean entertainment companies use websites to engage Korean and international Kpop fans, and what roles these sites seem to play in the company’s larger business, marketing, and promotional plans  – particularly when it comes to attracting new talent and integrating social media channels and tools.

Process

Recording websites can take between 2 to 15 minutes per site- occasionally more if the website is dense.  I choose to record the websites without sound in order to avoid copyright infringement and so that visitors may enjoy and engage in unbiased viewing or analysis of the website.   In Kpop, many artists and groups release several music projects a year, so I keep up with Kpop news outlets to find out about debuts and comebacks, and I try to record the different websites for each project. In this way, the DD project creates depth not only by seeking out general trends, but also monitoring the evolution of individual groups and artists. Additionally, if artists and groups promote in Japan, I record those websites if they are available.

Recording B1A4's latest website. See Screencast-O-Matic interface (dotted lines, recording control panel).
Recording B1A4’s latest website. See Screencast-O-Matic interface (dotted lines, recording control panel).

Website Differences

One of the first things I noticed is that SM Entertainment was the only company that still gave historical access to websites supporting their early artists (Shinhwa, S.E.S., Yoo Joung Jin, etc.), so I quickly recorded those websites. It’s a good thing that I did, because in 2012, the company completely redesigned their website, removing any content about artists who were not currently on their roster.  SM Entertainment continues to allow access to the older websites of groups who are still on their roster (e.g., Girls Generation, SHINee, TVXQ! etc.); additionally this company provides links to modified liner notes (e.g., lyrics, music publishing information, etc.).  Those sites have been recorded for posterity, as well.

In contrast, other companies like YG Entertainment or FNC Music Entertainment only offer current editions of artists websites – that is, viewers only have access to the current promotional concept of a group or artist, even if some historical information may be available (see below). Additionally, some companies (Starship Entertainment, TS Entertainment) only offer quick profile information about their artists on their websites. Instead they choose to use Cafe Daum’s “internet cafe” sites, which act as a hybrid website/forum, to promote their artists. Since Cafe Daum Official Kpop artist sites are generally designed to reach Korean Kpop fans, I do not record these sites for KPK.

Website Commonalities

Despite these differences, most Kpop artist websites have common elements:

  • Artist profiles (member names, birthdays, blood type, hobbies)
  • Discography lists
  • Photo galleries
  • Music snippets
  • Activity calendars
  • Social media links (Facebook, Twitter, Instagram, YouTube, and until mid-2014, Me2day)
  • Links to online music purchasing and downloading sites (e.g., Melon, Olleh, iTunes)
  • Message boards (from the artists, their staff, and for fan-to-fan communication)
  • Official fanclub portals and exclusive content (often password protected)
  • International language options (default language is Korean with some English)
  • Links to the company’s business site, which include audition information

From Collection to Curation

B1A4 Kpopiana exhibit with Digital Documentation links.
B1A4 Kpopiana exhibit with Digital Documentation links.

When this project first began, KPK members were more engaged in collecting information, so DD videos were listed on the KPK website, separately from the artist profiles. As we move on to curation activities, these video links are now included in KPOPIANA artist exhibits.  At press time, KPK has a DD library of almost 500 Kpop artist websites, from all kinds of Korean entertainment companies and encompassing all kinds of artists, Kpop choreographers, some international fansites,  and even Kdrama actors. Currently we are focused on releasing DD items pertaining to Kpop artists, with plans to include other items in the future.   The Library of Congress (n.d.) notes that the average length of a website is about 44 days. Considering the frenetic pace of music production in Kpop, this length may sometimes be shortened, making the DD project a useful tool in the study of Hallyu and its life on the Internet.  

 Click to learn more about the DD project, or you may contact me anytime.

Sources

Library of Congress. (n.d.). Importance of digital preservation: Special presentation. Accessed April 17, 2014, from http://www.digitalpreservation.gov/about/presentation.html.

KDK/Nunee (M.S.L.S.)

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For Your Reading Pleasure: A Hallyu Bibliography, Part 4: GLOBAL IMPACT and GLOBALIZATION

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 4 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titledFor Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 , Part 2, and Part 3 of the bibliography.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

Global Impact

Dator, Jim. and Yongseok Seo. (2004). Korea as the wave of a future: The emerging dream society of icons
and aesthetic experience. Journal of Futures Studies 9(1): 31–44. Accessed 27 March 2012 from http://www.jfs.tku.edu.tw/9-1/04.pdf?referer=www.clickfind.com.au

Cho, Hae Joang. (2005). Reading the “Korean Wave” as a Sign of Global Shift.  Korea Journal 45: 147–82. Accessed 27 March 2012 from http://www.ekoreajournal.net/issue/view_pop.htm?Idx=3359

Mangliankay, Roald. (2006). When the Korean wave ripples. IIAS Newsletter, 42: 15. Accessed 27 March 2014 from https://openaccess.leidenuniv.nl/bitstream/handle/1887/12766/IIAS_NL42_15.pdf?sequence=1

Yang-hwan, Jeong. (2007). Comics soar as new Korean wave. Korea focus on current topics, 15(1):67-69. Accessed 27 March 2014 from http://www.koreafocus.or.kr/images/upload/pdf/101439.pdf

Shin, Hyunjoon. (2009). Have you ever seen the Rain? And who’ll stop the Rain?: the globalizing project of Korean pop (Kpop). Inter-Asia Cultural Studies, 10(4): 507-523.

Park, Gil-sung. Manufacturing creativity: Production, performance, and the dissemination of K-pop. Korea Journal, 53(4): 14-33.

 Globalization

Nederveen Pieterse, Jan. (1995). Globalization as hybridization. In M. Featherstone, S. Lash and R. Robertson (Eds.) Global Modernities. pp.45 – 68. London: Sage.Cho, Uhn. 2005. Positioning the Korean wave in the nexus between globalization and localization. Korea Journal, 45(4): 143-146.

Hyun, Oh-seok. 2004. Taking advantage of the Hallyu wave. Korea Focus, 12(6): 47-49.

Lee, Hee-Eun. (2005). Othering ourselves: identity and globalization in Korean popular music, 1992-2002. Thesis, University of Iowa.(see also, Identity and Nationalism)

Kim, Youna. (2005). Experiencing globalization. International Journal of Cultural Studies, 8(4): 445-463.

Kim, Ju Young. (2007). Rethinking media flow under globalisation: rising Korean wave and Korean TV and film policy since 1980s. PhD thesis, University of Warwick. Accessed 27 March 2014 from http://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf

Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X. (see also, Culture)

Yang, J. (2007). Globalization, nationalism and regionalization: The case of Korean popular culture. Development and Society, 36(2): 177-199.

Sung, Sang Yeon. (2008). Globalization and the regional flow of popular music: the role of the Korean wave (Hanliu) in the construction of Taiwanese identities and Asian values. Thesis, Indiana University, Bloomington.

Le, Lan Xuan. (2009). Imaginaries of the Asian modern: text and context at the juncture of nation and region. Thesis, Massachusetts Institute of Technology.  

Ryoo,  W.   (2009).  Globalization,  or  the  logic  of cultural  hybridization:  The  case  of the  Korean  wave.  Asian Journal  of Communication,  19(2),  137 -15I .

Iwabuchi, Koichi. (2010). Globalization, East Asian media cultures and their politics. Asian Journal of Communication, 20(2): 197-212.

Hogarth, Hyun-key Kim. (2013). The Korean wave: An Asian reaction to Western-dominated globalization. Perspectives on Global Development & Technology, 12(1/2): 135-171.

Hong, Soonkwan. (2013). Surfing the Korean wave: A postcolonial critique of the mythologized middlebrow consumer culture in Asia. Qualitative Market Research: An International Journal, 16(1): 53-75.

Oh, Ingyu. (2013). The globalization of K-pop: Korea’s place in the global music industry. Korea Observer, 44(3): 389-409.

Lee, Gyu Tag. (2014). De-nationalization and re-nationalization of culture: The globalization of K-pop. Dissertation, George Mason University.

Meza, Xanat Varga & Han Woo Park. (2015). Globalization of cultural products: A webometric analysis of Kpop in Spanish-speaking countries. Quality & Quantity, 49(4): 1345-1360.

Happy Reading!

KDK/Nunee (M.S.L.S.)

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For Your Reading Pleasure: A Hallyu Bibliography, Part 3: CULTURE and CULTURAL INDUSTRY

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 3 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled “For Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 and Part 2 of the bibliography.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

Culture

Iwabuchi, Koichi, Stephen Muecke, & Mandy Thomas. (2004). Rogue Flows: Trans-Asian Cultural Traffic. Hong Kong: Hong Kong University Press.

Kim, J.H. (2004). Korean wave in Japanese culture. Journal of Human Subjectivity, 4(1): 85-95. 

Park, Jung-sun. (2004). Korean American youth and transnational flows of popular culture across the Pacific. Amerasia Journal, 30(1): 147-169.

Fu Su Yin, Kelly, and Kai Khiun Liew. (2005).  “Hallyu in Singapore: Korean Cosmopolitanism or the Consumption of Chineseness?” Korean Journal 45.4: 206-32.

Iwabuchi, Koichi. (2005). Discrepant intimacy: Popular culture flows in East Asia. In J.N. Erni and S.K. Chua (Eds.) Asian Media Studies: Politics of Subjectivities. Hong Kong: Hong Kong University Press.

Jeon, G. and T. Yoon. (2005). Realizing the Korean wave into an Asiatic flow. Korean Journal of Broadcasting

Kwon, Haesoo and Chai Wonho. (2005). The diffusion of Korean Wave (Hallyu) as a cultural exchange. In 2005 Proceedings of the International Conference of Seoul Association for Public Administration (SAPA). pp. 1 -20.

Lee, Keehyeung. (2005). Assessing and Situating ‘the Korean Wave’ (Hallyu) through a Cultural Studies Lens. Asian Communication Research, 2(2): 5-22. Abstract assessed 2 November 2011. http://www.dbpia.co.kr/view/ar_view.asp?arid=1030476

Park, J.S. (2005). The Korean Wave: Transnational cultural flows in Northeast Asia. In C.K. Armstrong, G. Rozman, S.S. Kim & S. Kotkin (Eds.), Korea at the Center: Dynamics of Regionalism in Northeast Asia. London: M.E. Sharpe, Inc.

Lee, Heejae. (2005). The Korean wave on the viewpoint of Hwa-Yi (China-Barbarism). First International Conference of the Asian Philosophical Association. pp.117 – 124. Accessed 22 August 2012 from http://www.icapa2005.fatih.edu.tr/icapa2005.pdf#page=125

Lee, Jamie Shinhee. (2005). Discourses of fusion and crossing: Pop culture in Korea and Japan. Thesis, University of Illinois at Urbana-Champaign.

Kim, Shin Dong. (2006). Mass culture of/in Korea. Accessed 24 August 2012 from http://his.hallym.ac.kr/site/user_up/file/2006_s9.doc

 Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X. 

Kim, Eun Mee. (2007). South Korean culture goes global?: Kpop and the Korean wave. Presented at the University of California, Los Angeles International Institute. Accessed 28 August 2012 from http://www.international.ucla.edu/calendar/showevent.asp?eventid=6106

Kim, Eun Mee and Jiwon Ryoo. (2007). South Korean culture goes global: Kpop and the Korean wave. Korean Social Science Journal, 34(1): 117-152. Retrieved from http://kossrec.org/board/imgfile/KSSJ%20Vol.34.no.1(Eun%20Mee%20Kim%26Jiwon%20Ryoo)).pdf

Kim, Jeongmee. (2007). Why does hallyu matter? The significance of the Korean wave in South Korea. Critical Studies in television: scholarly studies in small screen fictions, 2(2): 47-59.

Xuenzhe, Liu. (2007). The rising Korean wave among Chinese youth. Accessed 23 November 2011 from http://fxqw820.tripod.com/AWS.pdf

Choi, Jaz Hee-jeong (2008). The New Korean Wave of U. In Anheier, Helmut K. & Isar, Yudhishthir Raj (Eds.) Cultures and Globalization : The cultural economy. Sage Publications, Thousand Oaks, CA

Ko, Y.J. (2008). Riding with the Korean wave: Reflections on trans-Asian cultural flows. Paper presented at the New Media and Global Diaspora Symposium. Accessed 28 March 2012 from http://reasonandrespect.rwu.edu/journal/index.php/2009/05/26/riding-with-the-korean-wave-reflections-on-trans-asian-cultural-flows/

Vuong, Phuong My. (2008). Korean wave: cultural influence upon China. Thesis, Concordia University Irvine.

Jung, Eun-Young. (2009). Transnational Korea: A critical assessment of the Korean wave in Asia and in the United States. Southeast Review of Asian Studies, 31: 69-80. Accessed 2 November 2011 fromhttp://www.uky.edu/Centers/Asia/SECAAS/Seras/2009/06_Jung_2009.pdf 

Kim, Sujeong. (2009). Interpreting transnational cultural practices. Cultural Studies, 23(5/6): 736-755.

Lee, Jung-yup. (2009). Managing the transnational, governing the national: Cultural policy and the politics of “culture archetype” project in South Korea. Accessed 5 April 2012 from http://sonicscape.koreanpop.org/wp-content/uploads/2009/07/jylee-culture-archetype-20090704.pdf

Leung, L.Y. M. (2009). Daejanggeum as ‘affective mobilization’: Lessons for (transnational) popular culture and civil society. Inter-Asia Cultural Studies, 10(1): 51-66.

Ayhan, Kadir. (2010). The nexus between East Asian regionalization and popular culture: the case of the Korean wave. Seoul National University (thesis).Retrieved from http://library.snu.ac.kr/site/snu/viewer/SNUPDFViewer.jsp?cid=3387447&moi=1778232&file=2415694

Chua, Beng Huat. (2010). Korean pop culture. Malaysian Journal of Media Studies, 12(1): 15-24. Accessed 4 April 2012 from http://umepublication.um.edu.my/filebank/published_article/621/JPMM%202010_1%20Chua%20Beng%20Huat.pdf

Park, Sora. (2010). The impact of media use  and cultural exposure on the mutual perception of Koreans and Japanese. Asian Journal of Communication, 15(2): 173-187.

Bergen, Hannah N. (2011). Understanding Korean society through popular music. Situations, 5 (Winter): 82-90. Accessed 16 April 2012 from http://web.yonsei.ac.kr/bk21/2011%EB%85%84Situations%ED%8C%8C%EC%9D%BC/7_Hannah_Bergen_01[1].pdf

Lee, Dong-Yeon. (2011). “What Is Idol Pop?” In IDOL: From H.O.T. to SNSD, Idol Culture Report, edited by Lee Dong-Yeon, 14–48. Seoul: Imagine.

Ravikesh. (2011). A Cross-Cultural Perspective on Korean Wave (Hallyu) in South Asia. Presented at the The 3rd International Conference on Language and Communication, Bangkok Thailand.

Ramesh, Bharadwaj. A Hallyu Story: Behind the origins and success of the Korean wave in China & the future of content in a broadband world.  Accessed 17 June 2016 from http://bit.ly/23ggIuk

Katsiaficus, George. Asia and South Korean social movements. Accessed 4 April 2012 from http://tainguyenso.vnu.edu.vn/jspui/bitstream/123456789/7550/1/Hoi%20thao%20Han%20quocTB3-03.pdf

Yasumoto, Seiko. (n.d.) Japan and Korea as a source of media and cultural capital. Accessed 24 August 2012 from http://rp-www.arts.usyd.edu.au/korean/downloads/KSAA2009/Global_Korea_Proceedings_311-321_Yasumoto.pdf

Ju, Hyejung & Soobum Lee. (2015). The Korean wave and Asian Americans: the ethnic meanings of transnational Korean pop culture in the USA. Journal of Media & Cultural Studies, 29(3): 323-338.

Cultural Industry

Otmazgin, Nissim Kadosh. (2005). Cultural commodities and regionalization in East Asia. Contemporary Southeast Asia, 3: 499-523.

Park, J. B. (2005). Expanding and sustaining ‘Korean Wave’: by the way of developing killer contents. Korean Wave 2005! – Opportunities and Challenges, Seoul, Korea, Korean Wave Promotions & Policies Foundation.

Kim, Youna. (2006). ‘Rising East Asia ‘Wave’: Korean media go global’, in  Thussu,  Daya  (ed.).  Media  on  the  Move:  Global  Flow  and  Contra  Flow, London: Routledge, pp. 135-152.  

Shin, Seung-il. (2006). Opening the second stage of Hallyu. Korea Focus, 14(2):65-66.

Arcodia, C., X Zhiang, D. Sohn & T. Lee. (2008). The sustainable development of the Korean cultural entertainment industry with the Korean wave (Hallyu). Sun Yat-Sen University. (more information: http://espace.library.uq.edu.au/view/UQ:160019)

Park, Kang Ah. (2008). The growth of the cultural industry and the role of government: the case of Korea. Thesis, Massachusetts Institute of Technology. Accessed 2 November 2011 from http://dspace.mit.edu/handle/1721.1/45761

Shim, Doobo. (2008). The growth of Korean cultural industries and the Korean wave. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 15 – 32. Aberdeen: Hong Kong University Press.

Kim, Milim. (2011).The role of the government in cultural industry: Some observations from Korea’s experience. Keio Communication Review, 33: 163- 182. Accessed 4 April 2012 from http://www.mediacom.keio.ac.jp/publication/pdf2011/10KIM.pdf

Otmazgin, Nissim. (2011). A tail that wags the dog? Cultural industry and cultural policy in Japan and South Korea. Journal of Comparative Policy Analysis: Research and Practice, 13(3): 307-325. doi: 10.1080/13876988.2011.565916

Seabrook, John. (2012). Factory girls. New Yorker, 88(31): 88-97.

Kim, Jeong Gon and Se Young Ahn. (n.d.).  Patterns and impacts of Korea’s cultural exports: Focused on East Asia. Accessed 22 August 2012 from
*http://home.sogang.ac.kr/sites/iias/iias04/Lists/b6/Attachments/52/6.%20Patterns_and_Impacts_of_Korea%20(Se%20Young%20Ahn_Jeong%20Gon%20Kim).docx

Yasumoto, Seiko.( n.d.). Japan and Korea as a source of media and cultural capital. Accessed 24 August 2012 from http://rp-www.arts.usyd.edu.au/korean/downloads/KSAA2009/Global_Korea_Proceedings_311-321_Yasumoto.pdf

Jang, Wonho & Youngsun Kim. (2013). Envisaging the sociocultural dynamics of K-pop: Time/space hybridity, Red Queen’s race, and cosmopolitan striving. Korea Journal, 53(4): 83-106.

Dal, Yong Jin. (2014). The power of the nation-state amid Net-liberal reform: Shifting cultural policies in the new Korean wave. Pacific Affairs, 87(1): 71-92.

Kim, Yeojin. (2014). A possibility of the Korean wave Renaissance construction through K-pop: Sustainable development of the Korean wave as a cultural industry. Hastings Communications & Entertainment Law Journal, 36(1): 59-88.

Kwon, Seung-ho & Joseph Kim. (2014).  The cultural industry policies of the Korean government and the Korean wave. International Journal of Cultural Policy, 20(4): 422-439.

Baek, Young Min. (2016). Relationship between cultural distance and cross-cultural music video consumption on YouTube. Social Science Computer Review, 33(6): 730-748. 

Chen, Steven. (2016). Cultural technology. International Marketing Review, 33(1): 25-50.

 

Happy Reading!

KDK/Nunee (M.S.L.S.)

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JOURNAL ARTICLE: Journal of Creative Library Practice

Keeping the ‘L’ in digital: Applying LIS Core Competencies to Digital Humanities Work

Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster

ABSTRACT: Digital Humanities (DH) has struggled with an identity since its contemporary emergence in the early 2000s; however, a succinct definition exists, placing many core activities of the field squarely in the domain of modern librarianship. This article briefly reviews American Library Association’s Core Competencies for Librarianship and summarizes the continuing development and characteristics of DH projects. The author also reveals how LIS competencies have been applied to a Korean popular culture DH project at Elon University.  Positive implications for DH’s impact on professional development for librarians, information literacy integration, and opportunities for librarian/faculty or community collaborations are also included.

Read more:  http://bit.ly/14r4QeQ

For Your Reading Pleasure: A Hallyu Bibliography Part 2: BUSINESS and ECONOMICS

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 2 of my ongoing series of bibliographic entries about Hallyu. From here on, entries will be arranged by SUBJECT rather than format (e.g., books).  These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled “For Your Reading Pleasure: Introducing A Hallyu Bibliography.”

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’m modifying these APA Style citations by adding full author names where possible.

Business

Ha,  Y.  G.  (2006).  The  plans  for  Korean  entertainment  businesses  concerning  with the  Korean  Wave.  KBI  Focus,  6(17),  6-17

Lee, Jong-ho and Ok, Jung-won and Woo, Do-kang. (2007). The Study on Relationship of Structure among Brand Equity Factors of Hallyu. Business and Economy Studies,25: 73-96.

Yoon, Jung Keun. (2009). A case of slavery contract between singers and agency in Korea: 2009 KaHap2869. The Asian Business Lawyer, 5(123): 123-? Accessed 4 April 2012 from http://210.101.116.28/W_kiss61/1f501057_pv.pdf (partial scan).

Wenqing, Ji. (2009). Referring Korean experiences to enable the Chinese wind to outdo the “Korean Wave.”

Tsai, Patricia. (2013). Discovering the full potential of the 360 deal: An analysis of the Korean pop industry, Seven-Year Statute, and Talent Agencies Act. UCLA Entertainment Law Review, 20(2): 323-349.

Economics

Ha, Bongjoon. (2006). Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Broadcast International Seminar on Southeast Asia and Korea, 7:1-87.)

Jung, H. (2006). The effects of consumer’s perception of Korean wave (Hallyu) on Korean product purchase and country image in Chinese market. Journal of Consumer Studies, 17(3): 79-101. (see also, Culture)

Doshisha, Yagi. (2008). International cultural exchange and economic impact. Accessed 29 March 2012 from http://yagi.doshisha.ac.jp/culture/Culturalexchange_final[1].pdf

Huang, Xiaowei. (2009). Korean wave – the popular culture, comes as both cultural and economic imperialism in the East Asia. Asian Social Science, 5(8). Accessed 2 November 2011 from http://www.ccsenet.org/journal/index.php/ass/article/view/3449/3123

Lee, J-Y. (2009). Contesting the digital economy and culture: digital technologies and the transformation of popular music in Korea. Inter-Asia Cultural Studies, 10(4): 489-506.

Oh, I. (2009). Hallyu: the rise of transnational cultural consumers in China and Japan. Korea Observer, 40(3): 425-459. 

Ha, Bongjoon. (2010).  Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Malaysian Journal of Media Studies, 12 (1): 53-60. Accessed 24 August 2012 from http://biomed2011.um.edu.my/filebank/published_article/623/JPMM%202010_1%20Ha,%20Bongjoon.pdf

Kim, Myung Oak and Sam Jaffe. (2010). The Korean wave: ebbing or flowing? In M.O. Kim and S. Jaffe The new Korea: An inside look at South Korea’s economic rise. pp. 163- 174, Accessed 26 April 2013 from http://www.cognitivestyles.com/GINA_PCA/Korean%20History%20Etc/The%20New%20Korea%20An%20Inside%20Look%20at%20South%20Korea’s%20Economic%20Rise.pdf

Ahn, Shin-Hyun. (2011). Girls’ Generation and the New Korean Wave. SERI Quarterly, 4(4): 80-86.

Seo, Min Soo. (2012). Lessons from K-pop’s global success. SERI Quarterly, 5(3): 60-66.

Kim, Su-jeong. (2013). A second ‘Dae Jang Geum’ unlikely with export strategies alone. Korea Focus, December: 1-4.

Kim, Jeong Gon and Se Young Ahn. (n.d.). Patterns and impacts of Korea’s cultural exports: Focused on East Asia. Accessed 22 August 2012 from
*http://home.sogang.ac.kr/sites/iias/iias04/Lists/b6/Attachments/52/6.%20Patterns_and_Impacts_of_Korea%20(Se%20Young%20Ahn_Jeong%20Gon%20Kim).docx 

Chen, Steven. (2016). Cultural technology. International Marketing Review, 33(1): 25-50.

Happy Reading!

KDK/Nunee (M.S.L.S.)

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More Than Passion: Kpop and the Everyday Work of Digital Humanities

Kaetrena Davis Kendrick, M.S.L.S

University of South Carolina Lancaster

When you click the “KPK Members” link on our site, our bios’ upbeat language states we have certain skill sets that match well with the work of KPK, and you know that we are Kpop fans. I think our identification as Kpop fans is one of the unique characteristics of our collaboration.

While KPK members approach the work of KPK as people who truly enjoy and participate in Kpop culture and some associated activities, our passion for Kpop is a minimum requirement for the work we do. Our work also requires the courage to forge a path in a niche research area within a discipline that is still developing, a willingness to perform due diligence, and not unlike the most successful Kpop idols, the will to perform seemingly repetitive actions in pursuit of a professional and cohesive body of work for an audience who’d like to consume a quality product.

This past January, KPK marked its second anniversary, and in that time we have improved our artist profiles and expanded our research projects. In the same amount of time, the DH discipline still struggles with its very identity – literally. In a recent article in The Chronicle of Higher Education, William Pannapacker (with KPK’s apologies) pleads:

Stop calling it “digital humanities.” Or worse, “DH,” with a knowing air. The backlash against the field has already arrived. The DH’ers have always known that their work is interdisciplinary (or metadisciplinary), but many academics who are not humanists think they’re excluded from it….it seems more inclusive to call it digital liberal arts (DLA) with the assumption that we’ll lose the “digital” within a few years, once practices that seem innovative today become the ordinary methods of scholarship.

DH (or DLA) labels aside, KPK is performing the unique work of organizing Kpop artist information and Kpop fan activities during a time when DH standards are wide-ranging and many actions that were once considered within the discipline have been challenged as the field evolves. When KPK considers adding new projects or updating current ones, we revisit the evolving rules of DH and work to reconcile them with the KPK educational mission. Because of this evolution, our passion for Kpop (“let’s gather every single photo we can find of Eric because Shinhwa is awesome!”) has always been tempered by the scholastic/research activity of due diligence (“which photos of Shinhwa reflect a certain aspect of the group’s position in/influence on Hallyu’s development”). Burdick et al. assert that one of the characteristics of DH is “an emphasis upon curation as a defining feature of scholarly practice” (2012, 122). KPK’s projects reflect this characteristic because of our ongoing commitment to adhere to the latest standards where we can, and to question any standards that seem exclusionary to scholars who are doing good works in unconventional DH environments.

Hand-in-hand with due diligence is the time it takes to seek, evaluate, master,  train others, and implement new technologies and curate our information so KPK’s work can be made public and is easily disseminated. When we started KPK two years ago, we used two tools for content creation: WordPress and Google Docs. As our work evolved towards curation, we discovered more tools and applied them to our work.  More recently, KPK members have been trained on or exposed to a variety of digital curation platforms, including Omeka, Timeline JS, and Mindomo.

While these technologies make information gathering and presentation easier, it still takes quite a while to get work done. For instance, it takes about 4 hours to gather and curate all the items for the average KPK artist profile, and another 2 hours to input the items into KPOPIANA. That doesn’t take into account how long it takes to set up the artist’s exhibit. Since a lot of Kpop information is strewn all over the Internet (and in some cases, is contradictory or not available at all), this work can be tedious and repetitive – especially if you’re working on an artist that you don’t know well (or know, but who is not your favorite). Add this time to the hours we spend tagging and adding news to our information archive, annotating interesting articles, locating scholarly work, talking to fans, and preparing data for presentations, it becomes quickly apparent that my while my enjoyment of Kpop helps me get the job done,  it isn’t the actual work of KPK.

The interesting thing is this: when I’m looking for information about an artist who I don’t know that much about; watching a music video of a group that makes me wonder how they ever made even one comeback; or analyzing a concept photo that leaves me questioning the entire cordi-noona empire –that is when my passion for Kpop kicks in, melds with my love of scholarship, and stokes my determination to get our work done right for the long-term fulfillment of the KPK mission.

Sources

Burdick, Anne, et al. Digital Humanities. Cambridge: MIT Press, 2012. Web.

Pannapacker, William. “Stop Calling it ‘Digital Humanities’.” The Chronicle of Higher Education. 18 Feb. 2013. Web. 5 Mar 2013.

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