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Convergence Digital /
KPOP in Korea
Jean-Baptiste Soufron
FWPA Avocats / Technikart
jbsoufron@fwpa-avocats.com
It’s a WIP!!!
K$O$
• 2013 : $5 billions from pop culture export
• 2017 : x2
Digital + Content
• 1997 : 1st turning point
• Financial Crisis
• Kim Dae-jung, President and Nobel Prize decides that digital
and content will be priorities
• IT : electronics, videogames, web
• Samsung moved to digital and phones
• 1999 : launch of Naver
• Content : movies, music, dramas
Hallyu
• Without the 97 crisis, there would be no hallyu
• Strong gov support
• tax incentives for videogames, digital and music
• 2005 : $1 billion investment in pop industry
Becoming a local power
• Survive the decline of J-Pop and Canto-Pop
• Japan culture succeeded « by luck » in anime, manga, videogames
• Unable to get the japanese market to real maturity, instead relying on niche
demand and getting more and more dependent on Akiba and the otaku market
• Get the Korean culture market to maturity
• Digital Business Model :
• Strong on Piracy
• Make content available as much as possible
• Generate revenues from digital by-products
Becoming a global power
• US-like strategy:
• Lee Soo-Man was a student at USC Northridge
• He witnessed the emergence of MTV
• 2 sources of digital soft power:
• Hollywood-like soft-power
• Silicon Valley-like soft-power
DPOP
• Digital-POP?
• The rise of Youtube after 2005 had a huge impact
• Easy global reach
• The digital dividend works full speed : the more you invest, the
more you benefit… if it works for Hollywood, it works for everyone
• The digital lead is key:
• Naver and Samsung are essential to tech independence.
• The rise of online videogames is helping share the love. Who is the
biggest star for -18 people in France: Faker or Federer?
The Japan Trap
• Does Girl’s Generation really has an impact outside of Asia?
• What about the AKB48 temptation?
• How to maintain global reach? There is KPOP, there is Hip-Hop, but what about?
• Who will invest to help achieve global reach? Are we talking about interesting niches benefiting from
the elite club effect, or are we talking about Taylor Swift / Selena Gomez / Kim Kardashian mainstream
culture art?
• What about the business side?
• Is it generational?
• Is it as global as the japanese culture movement was?
• Where does it reach? Middle-East, South America?
• How to stay relevant without being for long in the EU - still the biggest market in the world, and in the
US - the most powerful market in the world.
• The turn over is huge. But how does it help?
from KPOP to GPOP?
• Heavy dependance on foreign content and technology
• Youtube
• League of Legends, Starcraft, etc.
• Can it last and stand against Sili-Wood without connecting to other
local cultures?
• Other are very active: Nolywood, French Movies, South American
TV, British POP, Eurodance, etc.
• Other died before: HK movies, Cinecitta, African Jazz, etc.
• Should there be a Global POP movement?
Next next
• Logical move : after Youtube, Netflix could be the
next wave, leading Korean actors and singers to the
global stage for long
• Protective moves from abroad: chinese quotas, etc.
• Why not others?

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Convergence digital / entertainment in the KPOP industry in Korea

  • 1. Convergence Digital / KPOP in Korea Jean-Baptiste Soufron FWPA Avocats / Technikart jbsoufron@fwpa-avocats.com It’s a WIP!!!
  • 2. K$O$ • 2013 : $5 billions from pop culture export • 2017 : x2
  • 3. Digital + Content • 1997 : 1st turning point • Financial Crisis • Kim Dae-jung, President and Nobel Prize decides that digital and content will be priorities • IT : electronics, videogames, web • Samsung moved to digital and phones • 1999 : launch of Naver • Content : movies, music, dramas
  • 4.
  • 5.
  • 6. Hallyu • Without the 97 crisis, there would be no hallyu • Strong gov support • tax incentives for videogames, digital and music • 2005 : $1 billion investment in pop industry
  • 7. Becoming a local power • Survive the decline of J-Pop and Canto-Pop • Japan culture succeeded « by luck » in anime, manga, videogames • Unable to get the japanese market to real maturity, instead relying on niche demand and getting more and more dependent on Akiba and the otaku market • Get the Korean culture market to maturity • Digital Business Model : • Strong on Piracy • Make content available as much as possible • Generate revenues from digital by-products
  • 8.
  • 9. Becoming a global power • US-like strategy: • Lee Soo-Man was a student at USC Northridge • He witnessed the emergence of MTV • 2 sources of digital soft power: • Hollywood-like soft-power • Silicon Valley-like soft-power
  • 10.
  • 11.
  • 12.
  • 13. DPOP • Digital-POP? • The rise of Youtube after 2005 had a huge impact • Easy global reach • The digital dividend works full speed : the more you invest, the more you benefit… if it works for Hollywood, it works for everyone • The digital lead is key: • Naver and Samsung are essential to tech independence. • The rise of online videogames is helping share the love. Who is the biggest star for -18 people in France: Faker or Federer?
  • 14.
  • 15.
  • 16. The Japan Trap • Does Girl’s Generation really has an impact outside of Asia? • What about the AKB48 temptation? • How to maintain global reach? There is KPOP, there is Hip-Hop, but what about? • Who will invest to help achieve global reach? Are we talking about interesting niches benefiting from the elite club effect, or are we talking about Taylor Swift / Selena Gomez / Kim Kardashian mainstream culture art? • What about the business side? • Is it generational? • Is it as global as the japanese culture movement was? • Where does it reach? Middle-East, South America? • How to stay relevant without being for long in the EU - still the biggest market in the world, and in the US - the most powerful market in the world. • The turn over is huge. But how does it help?
  • 17.
  • 18. from KPOP to GPOP? • Heavy dependance on foreign content and technology • Youtube • League of Legends, Starcraft, etc. • Can it last and stand against Sili-Wood without connecting to other local cultures? • Other are very active: Nolywood, French Movies, South American TV, British POP, Eurodance, etc. • Other died before: HK movies, Cinecitta, African Jazz, etc. • Should there be a Global POP movement?
  • 19. Next next • Logical move : after Youtube, Netflix could be the next wave, leading Korean actors and singers to the global stage for long • Protective moves from abroad: chinese quotas, etc. • Why not others?