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    Title: 日韓アイドルグループのマーケティング戦略研究
    Other Titles: A marketing strategy analysis of idol group in Japan and Korea
    Authors: 鄭丘皎;Cheng, Chiu-Chiao
    Contributors: 淡江大學亞洲研究所碩士班
    蔡錫勲;Tsai, Hsi-Hsun
    Keywords: 內容產業;偶像團體;AKB48;少女時代;行銷策略;海外策略;軟實力;哈日族;韓流;台流;content industry;Idol Group;Girl's Generation;Marketing strategy;Oversea Strategy;Soft Power;Japanophile;Korean Wave;Taiwan Wave;コンテンツ産業;アイドルグループ;マーケティング戦略;海外戦略;ソフト.パワー
    Date: 2014
    Issue Date: 2015-05-04 09:15:43 (UTC+8)
    Abstract: 早在幾十年前,日本早於其它亞洲圈,靠著內容產業的軟實力,取代在二戰後被迫廢止的軍事力量,將日本特有的文化推上世界舞台。不僅提高了日本這個國家在國際上的能見度,也因為這些特有文化,而在世界各地,尤其是亞洲創造出了欣賞進而著迷日本相關文化的,所謂的「哈日族」。其中,除了享譽國際的動漫畫,挾帶大量人氣的J-POP亦在國際舞台上有著耀眼輝煌的表現。
    繼日本之後,南韓在近二十年也靠著與日本相似又不相同的偶像團體之行銷手法,將「韓流」的中心從韓國連續劇所創造出的「勇樣」偶像崇拜,進而轉向以記憶點強烈的K-POP為中心。
    韓國偶像團體的組成及行銷策略,一開始是藉由多元吸收並模仿各國家的成功模式,經過長年日積月累的經驗及改變後,發展成一套自身的模式。不只是偶像團體,甚至是發展成自我一套的粉絲(fans)文化而在國際上闖出名號。
    一方面,日本的偶像文化亦隨著時代的變化,從一開始的小室家族至傑尼斯,皆在亞洲圈累積了為數不少之名氣。但近年,與以往相較之下,其無論人數、特色及行銷模式皆相當創新的『AKB48』,從一開始不被看好,到2010年時躍升一變,知名度大開成為家喻戶曉的國民團體,並以相同模式在海外各國打造其姐妹團體。其在日本國內的行銷模式,以及所創造出的經濟效應之大,坊間也出現許多專門探討其爆紅的原因,並試圖用現有的經濟學理論去解釋其背後的力量。
    而同一時期,南韓屬一屬二的經紀公司,SM Entertainment亦打造了一組多人數的少女團體─『少女時代』,此偶像團體的組成及行銷模式,在南韓亦算是前未所見的。而後,此偶像團體憑藉著一首『GEE』其重覆性高,並令人耳熟能詳的副歌配樂,搭配上易模仿也記憶猶新的編舞,成功地在南韓的藝能界大放異彩,亦在亞洲圈造成一股模仿風潮,進而一舉打響其在亞洲圈的知名度。
    在本研究中,欲透過該二偶像團體在國內的行銷策略、其成名的背景及經緯,以及各自專注的海外策略所誘發的軟實力,進而帶給台灣藝能界一些靈感。台灣也曾經因為連續劇的影響,而成功地在亞洲地區創造出所謂的「台流」炫風。但在音樂領域,卻至今沒有產生像是J-POP或K-POP一樣的感染力,也至今沒有產生類似足以影響其他國家一般的軟實力。因此希望能透過本論文,帶給台灣的音樂業界或者是藝能界一些新的靈感。
    Japan lost its right to military power after World War II, instead of military might, Japan introduced to the rest of the world of its unique but attractive culture by being the first in Asia to develop a content industry, thus developed a strong Soft Power. The development of this Japanese trend led to the birth of “Japanophiles”, and almost every country have them. The Japanese “Anime” Animations are known throughout the world, and more recently the Japanese Popular Music, J-Pop, are shining brighter than ever on the international stage.
    Following the success of Japan, South Korea presented its own Popular Music groups, with marketing strategies similar yet different to Japan’s. South Korea first created its own addictive TV drama series, thus started the “Korean Wave”. Then from the TV drama series, the “Yong-sama” idols were marketed as the core product attraction for the audiences to fall in love with, leaving strong impressions among fans.
    South Korean idol group’s formation and marketing strategy began by absorbing successful business models from varies countries, adding years of trials and errors, eventually developed their own business structure. Beyond the idols themselves, the fans also evolved their own “fans culture” and became internationally famous for it.
    On one side, Japan’s idol culture adopts to the change of time, started with the “Komuro Family”, then the “Johnny’s”, all gained a lot of popularity around Asia. However, nothing in the past could compare to the huge boom created by the “AKB48”. AKB48 started with heavy skepticism due to its revolutionary marketing strategy, but the number of fans proved other-wise. Soon everyone knows who the AKB48 is, and similar success was recreated with sister idol groups using the same business model. The outrageous prosperity brought by the AKB48 was and is still much discussed about, with many professionals trying to dissect and analyze the how and why with existing economic theories and explanations.
    On the other side, one of South Korea’s top Idol Agency, SM Entertainment, also forged a multi-girl idol group called “Girl’s Generation”. Similar to AKB48, Girl’s Generation’s formation and marketing strategy was never seen before in South Korea, but their grand success is undeniable. “GEE” was one of Girl’s Generation’s biggest popular hits, with high repetition, catchy chorus, and a dance routine that anyone could learn, every corner of Asia was impersonating Girl’s Generation.
    The research of this thesis will take the two popular idol bands, AKB48 and Girl’s Generation, break down their marketing strategies, history background, and each of their strength generated by oversea development. The goal is to bring business inspiration for the Taiwanese entertainment industry. In the past, Taiwan was able to bring a “Taiwan Wave” in other Asian countries with TV Drama series, but no music artists, or any other content factors, have yet to achieve the same level of popularity generated by Japan or Korea. Hopefully this thesis will bring new insight and vision to Taiwan’s content industry, and generate a strong Soft Power.
    Appears in Collections:[亞洲研究所] 學位論文

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