korean-media   47

banmal
Motel employee turns himself in to Jongno Police Station admitting to murdering person and dumping body in Han River. Says he had a fit of rage after guest didn't pay and spoke in 반말 informal speech. Used master key to enter room, struck sleeping guest.

https://news.sbs.co.kr/news/endPage.do?news_id=N1005399308&plink=ORI&cooper=Naver

Police reviewing whether to release the name & face of the "torso murder" motel employee who dismembered a guest's body and threw the headless & limbless body into the Han River last week.

This is only legal if deemed to be in the "public's interest."

https://www.yna.co.kr/view/AKR20190818048900060?input=1195m
Korean-hierarchy  banmal  Korean-media  Korean-law  faces 
5 days ago by thegrandnarrative
Naver’s News Manipulation: Compromising K-pop’s International Fanbase? – seoulbeats
In an effort to monitor information available online, the government has created regulatory bodies such as the Korea Communications Commission (KCC) and Korea Communications Standards Commission (KCSC). Both the KCC and KCSC are meant to work with the purpose of fair, neutral, and transparent news regulation. But these bodies too have previously been under fire for political bias. The former is a regulatory commission that works as a subordinate of the presidential Blue House. Meanwhile, the KCSC is supposedly Korea’s independent censorship agency, but wrought worries through the monitoring and censoring of online content that was against the government (mainly ex-president Lee Myung-bak). Its members are chosen by – and include those of — the National Assembly, thus keeping media close at hand with those in power.

It is thus unsurprising that Naver is no stranger to practicing censorship based on libel, political defamation, or simply higher personal interest in the form of putting out fake political news (hence, the birth of a wide range of fact-checking teams in news agencies such as JTBC). Such acts have included altering the trending chart and deleting comments or content. Over the years, neutrality has become a vague concept for the portal, as it has catered to certain vested interests upon request, thereby compromising transparency for favor.

...It is clear that Naver’s coverage on everything from the Burning Sun scandal to YG’s idols has severely cut down Naver’s credibility as a compiler of news. The list of those affected by Naver’s partiality also extends to include international readers and translators. Over the years, international translation culture has grown from limited content available on blogs and older sites such as Soompi, to translations of nearly everything from lyrics to Instagram stories, V-live segments and tweets. With this steady surge in content, translations have clearly grown high in demand. The hustle is real, but so is the potential for a drop in quality. Barriers such as culture, language, and proximity mean that something is always lost in translation. When coupled with Naver’s tendencies to manipulate or censor material altogether, the difference in domestic and international news awareness becomes even more jarring.

To be fair, Naver has reportedly promised to rely solely on computer algorithms over human editors, and to practice greater transparency. Nonetheless, because it constitutes a huge presence in the consumption of Korean Journalism, including topics of K-pop, Naver’s practices tend to bring up the question of how much international consumers may be compromised even today.
Naver  Korean-censorship  Korean-media  Korean-libel  K-pop  Korean-fandom 
22 days ago by thegrandnarrative
How South Korea Became the World’s Podcasting Capital | Acumen | OZY
But conventional media, a significant portion of which is public broadcasting, has been slow to adapt to a more progressive-minded public, experts say. “They are looking for alternative media channels because broadcast is pretentious and the content is difficult to trust,” says Sungkyu Lee, a Seoul-based media expert and entrepreneur. That’s probably why political or news-oriented shows, often produced by citizen journalists, dominate the podcast scene. In fact, Lee points out, two of the three most popular podcasts currently on Podbbang, South Korea’s largest podcast platform, are hosted by former NaGomSu participants. The phenomenon has also been colored by what scholars call “carnivalism,” or the use of humor and comedic techniques to subvert the mainstream political discourse.

Still, though, Lee’s careful about pegging South Korea as the world’s podcast capital. He points to a more recent poll by local research firm Embrain that found that only one-fifth of the population considers podcasts to be an everyday staple in their lives, though that’s higher than the estimated 12 percent of American households surveyed by Nielsen in 2017 that reported being “avid podcast fans.”

Yet there’s evidence the new media is playing an increasingly central role for those who are keen listeners: According to Kim, of Penn State Harrisburg, the average listener in South Korea spends a whopping 2 1/2 hours a day tuned in to their favorite shows — not because they’re simply being entertained, but because they’re being informed. “To put it bluntly,” he says, “the fear of missing out — the FOMO — in Korea is just massive.”

But now that podcasts are established as a go-to information source, especially for liberal Koreans, other experts say the political and information battle lines are shifting to another platform: YouTube. According to Youngju Ryu, a Korea expert at the University of Michigan, the popular video-hosting site has seen a proliferation of right-leaning content — often radical — from disgruntled conservative Koreans pining for the days of impeached ex-President Park. “In a very surprising way,” she says, “YouTube has been very, very good for the right.”
podcasts  Korean-podcasts  Korean-media  Korean-journalism 
10 weeks ago by thegrandnarrative
Men dominate media in Korea (thread)
- KBS: 9 of 11 board members male
- MBC: all 9 directors were male, 2 women appointed recently
- EBS: all 9 directors were male, 4 women appointed recently

according to survey by National Human Rights Commission of Korea

https://www.humanrights.go.kr/site/program/board/basicboard/view?boardtypeid=24&boardid=7603755&menuid=001004002001
Korean-media  Korean-sexism 
march 2019 by thegrandnarrative
Study Reveals S. Korean TV Shows Follow Sexist Norms | Be Korea-savvy
The expectations that men and women should carry out traditional gender roles is still prevalent on South Korean variety shows, according to a recent study.

On these types of television programs, women were typically expected to stay at home, while men were responsible for ‘outside work’.

In addition, male appearances on variety shows were 1.7 times more frequent than female appearances. The hosts as well as permanent guests were also twice as likely to be men.

The Korea Communications Standards Commission conducted a study on 39 of the most popular variety shows and 20 lifestyle programs that aired on South Korean television last May.

Variety shows tended to be male-oriented when it came to gender proportion and role allocations.

A total of 608 men (62.7 percent) appeared on the shows, while there were only 362 women appearances (37.3 percent).

On lifestyle programs, there were more women (142 people, 55.9 percent) than men (112 people, 44.1 percent).

On variety shows, the hosts and permanent guests were almost twice as likely to be men, while on lifestyle programs, men (41 people) and women (43 people) were similar in number.

Variety shows were mostly led by a male host in his 40s or 50s with permanent male guests.

The study also showed that 61.5 percent of variety shows and 50 percent of lifestyle programs included sexually discriminating content, mostly focusing on the idea that ‘women are to be at home, while men work outside of the home’.

The shows tended to treat instances where men took part in housework as special cases, with commentary that said the person was a ‘good husband’ or a ‘family guy’.

Variety shows also made fun of women with certain looks, even going so far as to ask young female guests to make alluring gestures or do a ‘sexy dance’.

H. M. Kang (hmkang@koreabizwire.com)
Korean-media  Korean-sexism  Korean-gender-roles  Korean-television 
february 2019 by thegrandnarrative
What’s Up with the Idol-Turned-YouTuber Trend? – seoulbeats
YouTube is now the most used smartphone app in Korea, surpassing names like Naver, Kakao Talk, and Facebook. The statistics are impressive: in October of this year, Korean users spent a total of 33.3 billion minutes on YouTube, while the record for September was 23.4 billion minutes. And there’s more: research done by local pollster Embrain revealed that 4 out of 10 South Koreans who use YouTube spend more than an hour watching videos in the platform every day. The study, conducted in September, also disclosed that 55.9% of the interviewees primarily watch user-generated content.

While the platform is a staple to the industry and one of its main distribution channels, these blooming statistics seem to reflect yet another recent trend in the K-pop scene: the YouTuber idol. Even though some foreign names like Ailee and Eric Nam were discovered first through the platform, and others like f(x)’s Amber have been vlogging for a few years, 2018 saw an unprecedented surge in personal channels run by idols or ex-idols. Former Rainbow member Hyunyoung, former Miss A member Fei, Black Pink’s Lisa, Girls’ Generation’s Yuri and VIXX’s N all launched their channels in the past few months, just to name a few. There’s even a Reddit topic attempting to keep up with the ever growing list.

Idols who speak English seem to have taken the lead on this trend, since the longest-running accounts are theirs. As mentioned before, f(x)’s Amber is part of this group, as well as Day6’s Jae, BtoB’s Peniel and CLC’s Sorn. YouTube also offers a chance for fans to see these idols interacting freely with each other—a rare thing in the industry—like in the videos of Amber and Jae, Sorn and Jae, and Peniel and Amber. Perhaps because of their versatility with languages, they took advantage of YouTube’s global audience earlier than their peers.

But language barriers are hardly a problem nowadays, as even those who only record videos in Korean, like f(x)’s Luna and AkMu’s Suhyun, usually offer English subtitles. On the same note, this new generation of YouTubers explores a vast amount of topics, way beyond their K-pop personas. They create their own content, ranging from makeup tutorials to ASMR to Q&A’s, and take it as a chance to reveal hobbies, hidden talents, or interesting information that wouldn’t normally reach the public.

Sorn’s Produsorn is a great example of this. Although her videos are uploaded inside of Cube’s official channel, she seems to have decision power on what is shared, as well as a willingness to openly talk about controversial topics. Her episodes on the difficulties of being a trainee and life as part of a girl group were particularly enlightening. Unpretty Rapstar 3 contestant Grace, much like Sorn, has also used her personal channel to reveal more about the backstages of the industry, as well as her career as an independent artist and what it entails. In her own words: YouTube is a “must” these days, and its importance in her branding is evident.

More recently, the trend seems to have taken off for older generation idols as well, bearing names like 2NE1’s Dara in DaraTV, Choa and Way from Crayon Pop, and MBLAQ’s G.O (who shares the channel with his girlfriend, actress Choi Ye-seul). After a disbandment and other dark prospects that former idols have to face, the platform shines a hopeful light at the end of the tunnel. Taking advantage of the popularity and accessibility of YouTube is a chance to build on new audiences and explore potential sources of income, without depending on company restraints and other obstacles.

Even with the existence of V Live—Naver Corporation’s live stream service aimed to reach international audiences— YouTube still stands as the most reliable option for idols who want to create personal (and often solo) videos. V Live is great for amping up fandom engagement, but it’s mostly used by companies to promote group content, not to mention that its users are primarily Hallyu fans. YouTube, on the other hand, offers a diverse audience that cannot be reached elsewhere—fans of mukbang and fans of A Pink aren’t necessarily related, but both can arguably enjoy Bomi’s channel, for example.

It’s surprising how the idol-turned-YouTuber trend didn’t bubble up earlier, given how much it benefits both makers and viewers alike. User-created content has the power of building intimate experiences, and fans rejoice getting to know their favorite celebrities in a more personal way. Idols who pursue this path open themselves to possibilities that generations before did not have, develop new skills, and can even carve out a sustainable, rewarding career on their own. In an industry that heavily relies on bonding between stars and fans, personal channels are the perfect gateway to new standards of connection. As long as YouTube is still a thing, at least.
K-pop  Korean-girl-groups  Korean-boy-bands  Korean-celebrities  Korean-YouTube  YouTube  Korean-media 
january 2019 by thegrandnarrative

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