Feasible Globalizations essays

Feasible Globalizations essays In the times we are living, there seems to be three main political, social and economic models that affect the idea of achieving a real global economy. These are nation-state systems, democratic political systems and a full economic integration. However, according to Mr. Rodrik the coexistence of these three models results impossible, or better said utopian. He argues that we could have at the most a combination of two of them, but never all three of them together for their coexistence would only create instability and a confrontation of interests. He solidly supports this argument analyzing past and current events that have taken place and expose the failure of promoting a fully integrated global economy. We will shortly summarize these examples and comment on them. Finally we will review the alternative proposed by Mr. Rodrik, the preservation of some limits on integration along with some ruling system that would orderly look for the achievement of an attainable integration, which we have considered to be somehow ambitious. One of the pillars of this papers argument exposes that markets need to be defined by a range of non-market institutions in contradiction to the mainstream idea that markets should be let to run freely with a minimum amount of intervention. Some functions that are to be performed by these institutions consist of creating, regulating, stabilizing and legitimating markets. Without theses institutions, he argues, markets would hardly strive, for they are not self-regulating, self-stabilizing or self-legitimating. They do a bad job, if any, at regulating anti-trust, providing transparent information, setting prudential limits or even raising awareness toward health, safety and the environment. However, people must understand that one model of an institutionalized economy is no better than the other as far as they all can assure market participants that they can retain the fruits of their investments. One exam...

Rock and roll music

Rock and roll music Rock and roll music Rock and roll music has changed the dominance of the European fine-art music though introduction of new fundamentals into the contemporary music arena. The introduction of new performance styles has essentially changed the previous legitimacy associated with performance. For example, majority of performers are perceived as being juveniles. This is because of their close association with social ills such as fornication and drug abuse. Rock and Roll music has led to the development of a new musical landscape with regard to events of the western civilization era. This has led to the a negative perception on civilization. Mainstreaming aspect of the American culture has also contributed significantly to the growth of rock and roll. This is especially on account of revolutionary aspects. Budds remarks, At the heart of the issue is the mainstreaming of attitudes and practices, musical and otherwise, that represent fundamental departures from those institutionalized by the power culture since the colonization of the United States (502). Rock and Roll represents the emergence of youth independence on account of development of new attributes like openness. This has led to significant of competition as a variable in the musical industry due to its profitability. Leaders in the recording industry condemned music from competitors as being culturally and socially irresponsible (Budds 503). Factors drawing the audience to Rock and Roll included spontaneity and the musical process. Language is another important element, for instance, the development. In Tin Pan Alley lyrics your are the angel glow that lights a star (Budds 504) I rock em, roll em all night long: Im a sixty-minute man (Budds 505) Finally, Rock and Roll music has a strong ethnic affiliation. Rock and Roll music has been used as a means of communication, preservation, and renewal of their cultural identity under poor social conditions (Budds 507).

Graphs, variables and methods of data collection Essay

Graphs, variables and methods of data collection - Essay Example They are divided into numerous pieces, which give clear comparison side by side (Freud 05). For clearer comparison, various graphs should be evenly spaced using the right scale and by observing accuracy when plotting the various points. This paper will examine four types of graphs including Line graphs, Bar Graphs, Pie Charts and Histograms, as presented in different news mediums. In the line graph that is examined, the variable used on the X-axis includes months and that on the Y-axis is revenue in million dollars. The data collection methods include questionnaires and sampling. This line graph shows that, despite the increase in market share, the income has not increased significantly. The other type of graph that is examined is Pie chart. The variables used here include occupancy in terms of revenue earned, which is shaded in green and un-occupied rooms represented by the un-shaded region. The data collection methods used includes sampling, questionnaires and surveys. The pie charts compare the occupancy rates between years 2007 to 2009 for Ritz-Carlton and All Marriott hotels. Further, the pie chart shows that Ritz-Carlton has more clients as shown by high occupancy rates compared as with All Marriott brands (Freud 25). Histogram is the third type of graph that is reviewed. The methods of data collection used include questionnaires, surveys, and sampling. The general conclusion is that the histogram compares the sale of light vehicles amongst General motor (GM), Ford, Chrysler, Toyota, Honda and other small manufactures of light vehicles. In addition, the graph shows that many light vehicles were sold by all the companies between 2006 and 2008 as compared to 2009 to 2010 (Jelen 25). The last graph that is examined is a bar graph. The variables used are fuel consumption in terms of liters, on the X-axis and percentage of sales made, on the Y-axis. Data collection methods include

Professor and Student in aGgun-Fight within the University Essay

Professor and Student in aGgun-Fight within the University - Essay Example The House of Representatives is just about to pass the bill, thus coming into a recognized policy. Hampikian sounds startled by the proposed law and in an amusing way, asks when he can shoot a student. Hampikian is interested in getting the bill approved though he is also considering the adverse effects that the policy is likely to have. Is it not a perplexing situation to see a lecturer pointing his/her gun to a student? And what happens when the student draws his gun in self-defense? Hampikian’s credibility is well established when he seeks legal instruction on what the rules of engagement in class will be once the students and professors start carrying guns to school. He invites dialog between the stakeholders both at the state level and the Boise University. According to him, it seems quite strange for a lecturer to carry a gun to his place of work since his responsibility is dealing with students only. He expresses this as a matter of practical concern. He is, however, accommodative of the change. He has no problems with the students carrying guns. He is currently acknowledging the fact that even right now, the students can still fight back using their pencils, when totally disgruntled, although he has no fears for the pencil since he always carries his pen as well. His credibility is further shown by the position he holds at the university. He is a professor of biology at the same university. This shows his credibility in that he appreciates the studen ts’ rights to defend themselves when necessary (Hampikian para 3). According to the author, permitting guns to campus will have an effect on the ethics and the organizational culture of the institution. Ethics refer to the norms followed in a particular organization. They define the conduct of conduct by all the players in the particular organization. Concerned with the ethics of the university and the Idaho State at large, Hampikian prompts the Legislators to consider the repercussions of  minor engagements that normally arise when students are carrying out their daily activities at the university, before making their final decision.

Team Development Essay Example | Topics and Well Written Essays - 750 words

Team Development - Essay Example The study of group behavior and team development has evolved from various disciplines originating among social scientists to organizational management. Contemporary studies of group behavior recognized the need to understand the relationships between group members and different factors affecting their development as a participating and performing team. There are studies which support the concept that groups influence work behavior. According to Heathfield (2010), a team is defined as â€Å"any group of people organized to work together interdependently and cooperatively to meet the needs of their customers by accomplishing a purpose and goals† (par. 1). Groups have to be planned not only in their formation but more so in their development for them to be productive and efficient. Each team undergoes varies stages of development depending on their size and objectives. The extent of cohesiveness that a team develops influences the level of performance of a group. High performing teams are influenced by factors such as mission, roles, leadership, communication, decision-making, systems/procedures, climate, rewards, and competence. It is learning how these teams evolve from a basic structure composed of individuals to a complex, performing team that makes theoretical applications of group development worthwhile. Being considered at the number 1 retail discount store in the US today makes Walmart the employer every employee seeks to be a part of. The Jobs and Employment News (JEN) site presented a career development study at Walmart which avers that â€Å"while many other companies look at training as an occasional issue, Walmart considers training as part of their regular work environment† (JEN, 2010, par. 4). The various training programs lined up for Walmart associates are as follows: new associate orientation, cashier simulated training (CST), summer internship program, manager in training (MIT), fresh food academy of classes, engagement

Lonely Miss Brill the Eavesdropper Essay Example for Free

Lonely Miss Brill the Eavesdropper Essay Miss Brill by Katherine Mansfield is about a middle-aged English teacher who secretly listens to other peoples conversation due to her loneliness. Every weekend Miss Brill goes out to the parade in a park and listens to other peoples conversation because she has nobody to talk to but her fur coat. She treasures her fur coat as if its her pet and has conversations with it. Towards the end of the story, she realizes that nobody likes her, therefore she goes home into her dark room and cries. Katherine Mansfield, uses imagery, characterization, and point-of-view uses these three literary elements to inform the meaning of the lonliness. The author uses imagery for the reader to better understand the story and to create the apperance of her loneliness. In the beginning of the story, the author states She had taken it out of its box that afternoon, shaken out the moth powderrubbed the life back into the dim little eyes. (Mansfield 1)Here, Miss Brill takes out her fur coat and starts to talk to it and pets it as if it is her pet. From this, the reader can can visually interpret that Miss Brill had no friends or family to talk to when she was lonley. Furthermore, towards the end of the story, a girl at the park says, Its exactly like a fried whiting.(Mansfield 4) The reader can visualize the story the author intended on how the little girl at the park makes fun of Miss Brill of her fur coat saying that it looks like fried fish. After hearing this, Miss Brill goes home and cries in her dark room. In addition, the author uses point-of-view for the reader to step into the main characters shoes. In the beginning of the story, when Miss Brill went to the park to watch the parade, the author states Wasnt the conductor wearing a new coat, too? She sure it was new. (Mansfield 1) From this quote, the reader can see that she went to the parade often, enough to know what the bandsmen wore each weekend to perform. Furthermore, the author states But to-day she passed the bakers by, climbed the stairs, went into the little dark room- her room like a cupboardShe sat there for a long time. (Mansfield 4) After coming back from the parade, getting made fun of, she goes to her room in a depressed mood and cries by herself. Lastly, from the begininng of the story, the reader can tell that Miss Brill had a unique personality. From talking and petting her fur coat, to eavesdropping, her character is a bit different from others. Her lonliness could have lead her to eavesdrop on people and have a fur coat as her friend. The author states, This was disappointing, for Miss Brill always looked foward to the conversation. (Mansfield 1), to show her lonliness. In this quote, the reader can see that Miss Brill liked to talk to people and even if she wasnt in the conversation, she would like to listen to them. Furthermore, he author states How she enjoyed it! How she loved sitting there, watching it all! It was like a play. (Mansfield 3) This quote is explaining how she enjoyed the parade as if it was a play. The reader can see that she entertained herself by going to the park every weekend to forget about her loneliness. The author successfully used these three literary elements for the readers to better understand the story, to create the appearance of her lonliness and visualize interpret what the author was intending to say. Authors using literary elements in their story is important because they can send what theyre trying to say to the readers easily with the literary elements. Furthermore, it is important to the readers because the readers can better understand the story and relate the story to the world. Reading this story, readers can understand people who too are lonely and step into their shoes to understand their feelings.

Development of the Korean film industry

Development of the Korean film industry CHAPTER 1: INTRODUCTION This dissertation consists of six chapters. The first chapter gives a detailed background of the Korean Film Industry, its origin and development and how it has led to the so-called ‘Korean wave or ‘Korean fever†. It also explains this term in order to give a better understanding of the title. The next chapter consists of literature review, which will form the basis of the findings and the conclusion. The third chapter is a case study, I which the top films of Korea will be discussed and compared with some top Chinese films. The fourth chapter will go on to explain the methodology that will be used in this dissertation to facilitate the findings and arrive at the conclusion. It will explain the methods used in the research and the research questions around which the dissertation revolves. The third and fourth chapters will form the crux of this dissertation. The next chapter provides the findings and analysis of the study based on mostly on the literature review and the research method used. This chapter will deal with the analysis and evaluation of the Korean film industry with respect to the Chinese market and provide the answers to the research questions posed in the previous chapter. The last chapter, that is chapter six, will provide a conclusion, that is, a result of the findings and will be followed by recommendations to ensure that the Korean film industry continues to grow. 1.1 Background A countrys film industry represents the culture, and lifestyles of the people living in that country. The Korean fever or Korea wave is normally regarded as the substantially enhanced popularity of South Korean culture all over the world. Besides, it is regarded as Hallyu (Hangul:; Hanja RR: Hallyu), from the Korean pronunciation. In this connection, this term was coined in China in the middle of 1999 by journalists in Beijing, China, surprised by the rapid increase in the popularity of contemporary South Korean culture as well as entertainment business in mainland China. The Korean film industry represents the film industries of North Korea and South Korea. While both these countries have relatively strong film industries, only the South Korean Industry has been able to achieve international acclaim and recognition. The North Korean film industry still revolves around topics like communism and revolutionary ideas. As is the case with all other industries and aspect of life in Korea, its film industry has also had to endure the heavy influence of political incidents. Be it the Joseon Dynasty or the Korean War, the governmental influence is evident in the Korean cinema. Since the beginning, the Korean film industry revolved around such scenarios as politics, wars, and even the activities of the government. A number of variables, such as the impact of the strategies undertaken by the most successful Hollywood film producers, the availability of a large budget, and the quality of the films produced in Korea, itself had a profound influence on the film industry of Korea. 1.2 Development of the Korean Film Industry The first movie theatre of Korea was established in 1903. Before the existence of this movie theatre, the European and American films kept the Korean film screens occupied. Not only this, but in the period 1926-1930, it was the Japanese who owned, and operated the Korean cinemas. It was during this time that a series of films were launched, that provided the beginning of quality films in China. Despite the fact that the film industry of Korea was at its peak in the 1950s, yet in the 1970s and 1980s with the countrys rapid economic growth, the Korean government was under pressure to liberalize is import policies and financial markets for all industries. The film industry had depended upon the quota system to gain screen time for its product and to make sure a certain amount of revenue. The production of the Hollywood blockbuster films, itself, was a continuous threat to the film industry of Korea, not only in terms of its decreasing market share, but also down to the question of its survival. The market share was witnessing a downward trend because the Korean films were produced with a low budget and low quality in the face of the blockbuster films produced by Hollywood. As a result, the market share had dropped to as low as 15% in the late 1980s. However, soon after that, the transformation of Korean film industry had started, and Korean cinema earned recognition as a commercial cinema outside the country after the success of the blockbusters, such as the film â€Å"Shiri†. The movie was produced in 1999, and captured an audience of approximately 5 million people, making it to the top of the South Korean films. The film was so successful that it broke the records for the all time favourite, â€Å"Titanic†, and welcomed the entry of the many film prod ucers who were keen to produce internationally repudiated films for Korea. In the process, the market share of the Korean films rose to 39.7%. A number of Korean films followed the league of â€Å"Shiri†, and the fact that the government had introduced a new legislation, allowing a two day weekend for the Koreans, gave rise to the success of the Korean cinemas. In the process, the film industry of Korea was reported to grow by approximately 18% each year, and according to a variety of sources, in a period of nine years only, the market share of the Korean films had grown from 15% to 45.2%. This was taken as a good omen by many of the most successful moviemakers of Hollywood who immediately stepped in the film industry of Korea, in order to obtain licenses so as to reproduce those Korean films that had been the most successful on the box office. In these connections, the relations between national cinema and history is refraction, fluid rather than reflection, and what is intriguing about contemporary Korean cinema is how the shared political history of the 1980s has become a commercial lure for the audience. Recently, the popularity of the Korean films, Korean music, and even Korean dramas has been increasing in Asia, with the Chinese being the major viewers of such Korean television programs. With such immense success and popularity of the Korean TV programs in countries such as Taiwan, Hong Kong, China, along with other parts of Asia, it is not unusual to find the influence of the Korean culture and traditions, as portrayed on the Korean screens, on the Asians. Due to this rapid spread of the Korean lifestyle, and culture in most of the Asian countries especially china, the Chinese used the word â€Å"Hallyu† to refer to the influence of Korean culture in other countries primarily through the media. This had been initiated by the broadcasting of â€Å"Daejanggeum†, a Korean drama, which made China the greatest victim of the Korean influence in 2005. Soon after, a number of articles on the new Korean wave began to be featured in journals, magazines, news papers, etc. It was even believed that the major reason for the Korean influence lies in the fact that the Korean government took advantage of the Korean screens to step out of the financial crisis, thus taking major steps to promote their film industry, and export their films. The fact that China and Korea share some similarities, not only in terms of their culture, but also down to civilizations and philosophies, explains such a deep impact of the Korean films on the Chinese. Today, both North Korea and South Korea have extremely flourished film industries. However, when it comes to global acclaim, it is undoubtedly film industry of South Korea which seems to capture the international market. The movies of North Korea focus more on rebellious, radical and insurgent themes. 1.2 Structure The aim of this research is to evaluate and analyze the relative success of the Korean film industry, and the influence of the Korean cultures in many of the Asian countries, especially China. The focus of this thesis is attempting to summarize and analyze whether and how this Korean wave is shaped in China mainland market and how it has impacted to Chinese audiences by critically commenting the latest top five Korean movies compared with the latest top five Chinese movies, reviewing the previous research findings and performing box-office performance analysis in the captured period. This will give information as to how the Korean film industry has impacted the population of China. It also aims to analyze the factors that have led to the Korean fever, and to what extent have the Chinese been influenced as the Korean traditions become prevalent in China, and other parts of Asia. The area of the research will mainly focus on the Korean film industry, as well as the film industry of China, since the top movies produced by both the countries will be compared. The area of the research will also include the other Asian countries, and the Korean cinema influence on their activities. The research objectives involve analyzing the performance of the Korean movies and the impact that they have had on Asian markets, in particular, China. The research methodology The data in this thesis is analyzed using a variety of sources. First of all, the box office performance is analyzed over the recent period, the data obtained from the Korean Film Council. The data captured from this source helped assess the market performance of the Korean films. The data is further broken down into sub-periods in order to evaluate the dynamics of the Korean films market performance. Finally, appropriate statistical techniques are used to assist our analysis. CHAPTER 2: LITERATURE REVIEW 2.1 The Korean Wave The â€Å"Korean Wave† or hallyu ( í•Å"ë ¥Ëœ) refers to the time period of 1990s, when Korean culture was internationally visible, not only in East Asia but even countries like United States saw a rapid surge of Korean values. Television serials, pop music, feature films and other musical forms are all part of the wave phenomenon. As the Korean wave is associated with the spread of Korean culture, it is referred as both national and a trans-national phenomenon. A great number of researched have been conducted to evaluate why and how pop culture of Korea was famous in other countries. These two regarding the success of Korean wave are distinct but not so related to each other. When government use sales figures of other countries to measure the success of Korean wave, overseas consumers are considered the arbiters of Korean culture. This signifies the ironic impact of the success of Korean culture; not only people in Korea but non Korean consumers are also being entertained by the Korean media. Infact, it was a Chinese journalist who coined the term ‘Korean wave or (hanliu éŸ © æ µ ) to describe the surprising effect of the rapid increase in popularity of contemporary South Korean culture as well as entertainment business in mainland China. Researchers believe that Korean wave is the interaction of many fields. The variable of pop culture existing in phenomenon of Korean wave has allowed it to be studied in cultural studys field (Chua and Iwabuchi 2008; Howard 2006). It is also studied along the dimensions of marketing and business, as government, promoters and corporate agents were selling the Korean culture as a commodity in the international arena. (Cho and Kang 2005; Han and Lee 2008; Kim and others 2008; Lee, Scott, and Kim 2008). It was also evaluated as being an important concept in the political arena. The Korean government undertook measures like subsidizing the cost of reediting for the international market. Such policies and regulations by government ensured that the Korean film industry expanded successfully in other countries. (Chua and Iwabuchi 2008, 28). Suddenly, Korean government started using pop star figures to attract tourists. (Yu-Shan Lin and Hwang 2008). 2.2 Growth of The Korean Culture In 2003, when a Korean drama serial ‘ Winter Sonata was broadcasted by Japaneses stations, it quickly became popular. Suddenly, yhe Korean mass culture gained popularity in Asian countries ( HAN, 2004:124-125) along with the word Hallyu. The word Hallyu was then associated not only with the rapid spread of Korean culture but also with the economc boom in Korea. According to G, a researcher at SAMSUNG Economic Research Institutute, Korean wave or Hallyu was developed through four stages. In the first stage, Korean culture became popular with the increased production of films, and dramas. Second stage signified the increasing demand of products associated with the famous pop idols. In the third stage, people moved on to buy Korean goods and services like electronic products which were not directly related to pop stars. People perceived a desirable impression of Korea in the fourth stage of Hallyus developmental; cycle. 2.3 Changes in Korean Domestic Market Okon Hwang and Hillary Finchum-Sung are two researchers who were concerned with the the effects of Korean Wave on the local market. Essay written by Okon Hwang title ‘No ‘Korean Wave Here: Western Classical Music and the Changing Value System in South Korea attempts to evaluate and analyze the positive impact of changing the flow of information on the successful expansion of a countrys culture. According to statistics, there has been a rapid increase in the Korean TV programs exported since 1988. This growth rate of export was more evident during the spread of Korean wave and with a sudden decrease in the foreign TV program in Korea. Since the launch of broadcasting industry in Koreas, majority of the shows broadcasted were American programs. Factors like lack of technical skills, experience and technological equipments hindered the production and the broadcast of local TV shows. The national broadcasting station of Korea was established in 1961, and since then it was dependent on foreign TV programs to fulfill the entertainment needs of the population. It was America that introduced TV sets, radio, transmitters and colored became possible when international firms gained a consensus to stop the manufacturing of monochrome TV sets. (JOUNG AND JANG, 2000:142) An audience rating survey in 1996 reflected that American programs were most popular among the Korean population. The time allotted to the broadcast of these shows increased till mid 1970s, after which more local TV programs were broadcasted. Although American TV shows like wonder women, six million dollar man, bionic woman were very popular during 1970s, but at the same time local shows increased in quality and the audience rating for them surged rapidly. A fall in the import of American TV programs was not only due to the improvement in production and broadcasting technology, but government regulations contributed significantly to reduce imports. An order of military government to broadcast limited number of shows resulted in a competitive race between the broadcasting stations where each and every station was striving hard to increase the ratings of domestic shows. The audience rating thereby, compelled broadcasting stations to improve the quality of local shows, develop a better infrastructure and acquire superior equipments. Moreover, Asian games and Olympics held in Seoul contributed a lot in increasing the audience rating of the local programs. While Korean TV shows gained popularity in 1980s, the market share of Korean films did not increase till 1990s. From the 200 movies that were produced during 1970s, only a few of them were able to break the records. Contrasting to the broadcasting industry, film industry produced movies since 1960s and was exposed to the stringent control and regulations by government. The government not only controlled the production and distribution facilities of films, but the censor department limited the freedom expression by controlling the content of movies. The establishment of the ‘law of cinema reduced the number of production firms from 70 to less than 20 and import restriction made it difficult to acquire imports without the permission of government. The year 1984 proved to be a turning point for the Korean film industry. It was during this year that censorship standards and import regulations were revised. Moviemakers were able to release movies simply after filling a permission fo rm and foreign films gained an entry in the Korean market escalating the competition level. CHANGES IN BROADCASTING REGULATIONS AND POLICIES: The following section has categorized the growth of Korean broadcasting industry into five stages and explains the policies of government during those stages. In the pre-takeoff stage, the TV broadcasting was not considered very important. A small number of studios existed and number of TV viewers was also limited. Authoritarian regimes existed in Korea during this pre-takeoff stage and throughout this time local media was used according to government objectives and mission. Only those dramas and movies were broadcasted which were I n line with the aims of the government. The interests of state were valued more than the interests of public( KWAK 2009). The government controlled the entry, the content and the distribution channels as well. The laws such as ‘practice outline, ‘administrative advice and ‘purification of the broadcast ensured that government controlled each and every stage of broadcasting from production to distribution of movies and dramas. In 1945, the Japanese movies, music and dramas were banned in Korea which compelled local broadcasting stations to improve the local dramas. During the transition from pre-take off to take off 1 stage, the broadcasting stations expanded rapidly, and government started imposing rules and regulations. The government control was also backed up by the military control of the government. In the takeoff stage 2, all stations were unified into two networks. In the maturity stage, the democratization of politics greatly affected the cultural industry. Commercial broadcaster entered the industry and government viewed this industry as a potential one in terms of supporting the economy. There was a shift in paradigm and government undertook several policies in 1990 to support the industry. Ownership for commercial broadcasting Outsourcing production programs was allowed Human resource training of broadcasting professional Participation in trade fairs was encouraged A broadcast video industry promotion plan was introduced All these policies supported the broadcasting industry to move from the maturity to the expansion stage. EFFECTS OF POLICIES The control of foreign flow of information and the supporting policies contributed immensely to the growth of the cultural industry. Allowing the outsourcing of production programs meant that there an increase in the independent production companies which created a competitive environment causing different station to find ways to increase the quality and standard of services if they were to remain in the industry. The infrastructure facilities supported the growth of small firms which handled operation for the independent companies. The ban of Japanese programs proved as an incentive for the local producers. However, some other government policies like increasing the participation in trade fairs was not effective as many negotiations were done outside the fair. The direct financial supported did not have any significant impact on the export of domestic programs as large proportion of it was given to the documentary programs. CHANGES IN THE FILM INDUSTRY This section has grouped the development of film industry in four stages. The film industry existed for many years unlike the broadcasting industry. Expanding the domestic market size of film industry proved to be difficult because of the different economic environment of the film industry. The advertisements were the most important source of revenue for the broadcasting industry, thereby it was related to economic development of country. However, the souce of revnue for the film industry was sales in box office and for that it was neccsary to produce some block buster movies. In the pre- takeoff stage, government introduce ‘ law of cinema to support the industry. It believed that it was important to increase the size of production companies and for that it restricted the entry in film industry. It became essential for companies to have a certaing amount of production facilities and equipments before they could enter. Moreover the policies related to censorship made it difficult to export film in foreign countries. In the take off stage, theatre entrance fees was increased, which contributed to the expansion of market size. Although the strict policies of censor existed as well as other governments controls, still the market was seen to expand with just the increase in entrance fees. In 1984, when restrictions were removed, the film industry moved to the maturity stage with number of film companies increasing, talented people were attracted and it appealed the electronic companies as well. Foreign distribution companies entered the local market, increasing the standard of competition. In the expansion stage, the quality of Korean movies increased significantly and various Korean movies won international awards. EFFECTS OF POLICIES. The introduction of screen quota system ensured that a certain budget and screening time was allocated to movies. The educational support by Korean Academy of Film Arts supprted the industry by providing talented actors. Indirect financial system such as loans proved to be an incetive for moviemakers. The foreign distribution policies such as supporting filmmakers to participate in international festivals helped in making global networks. 2.4 Positive Effects of the Korean Wave As mentioned above, Korean government contributed a lot towards the development of the Korean wave. The government aided the media industries, broadcasting stations and networks to expand and promote the Korean pop culture internationally. The main aim behind this action was to boost up the Korean economy and develop a positive national image. The government was successful in achieving both of the aims. Korean pop stars attracted attention of viewers all over the world. Korean government took advantage of their increasing popularity and used them to gain attention for other commercial sectors such as the tourism sector of Korea. The success of TV drams like â€Å"Winter Sonata† attracted tourist from around the world who visited Korea especially to see places where this drama was filmed. Businesses like travel agents were also taking advantage of the situation by customizing the themes of group tours according to the themes of different dramas for e.g. a tour was titled â€Å"Best of Korean drama trailer deluxe tour†. Pop idols or drama stars revolutionized the consumer culture of Korea. Food and fashion trends (including make-up, clothing) were changing and consumers all over Korea were suddenly following their favorite drama stars. Theses consumers called themselves the members of ‘Korean tribe. Consumers not only imitated the fashion style of their idols but went ahead to look like their idols with the help of plastic surgery. The posters and pictures of Korean stars were seen everywhere, from backpacks to notebooks and the wall. For example, Inlingua school in Singapore reported a 60% increase in the number of students willing to learn Korean in 2003 as compared to 2001 because of the attention generated by Korean movies and dramas. Almost every organization in the Korean economy benefitted from Korean wave. Pop stars were used to sell different goods and service. Celebrity endorsements were used extensively to promote superior brand image. Pop idols took advantage of their gaining popularity through several means. According to news, Actor Kwon Sang Woo charged $200 for some seats at a fan meeting in Tokyo. Tickets were also auctioned online for as much as $500. Moreover, according to a match making service, the role of pop stars as being romantic lovers led to the perception Korean men were generally like that in real life as well. It was due to this fact that more than 6400 female required match making services to find suitable Korean lover for them. The impact of the Korean wave was not only limited to the Korean economy, but it affected the lives of pop idols themselves. After Korean wave, Korean male celebrities like , Bae Yong Joon were one of the highest paid actors in the worldwide film industry. There are some positive impacts associated with the consideration of Korean wave as a transnational phenomenon. Apart from earning foreign currency for the local economy, it helped in improving the foreign relations of Korea. Korea had a long history of diplomatic frictions with the neighboring countries. Korean soldiers fought against the Liberation Army of Vietnam and it established ties with Beijing in 1992 at the cost of its relations with Taipei. 2.5 Negative Effects of the Korean Wave Korean wave has been criticized due to several reasons. It isbelieved that it was introduction of foreign films in Korean cinemas that threatened the Korean culture. According to a Chinese news magazine, government of South Korea was representing its culture as the essence of Asian culture. Before the Korean wave, classical music has been a part of cultural accomplishments and was a source of pride for the Korean population. But after the Korean wave, classical music and culture was suddenly replaced by the pop culture. Increasing Demand for the pop culture was no longer considered a problem and government exported it to foreign countries. There was an overall change in the conceptual framework as the Ministry of Sports and tourism promoted venues and advertising campaigns by incorporating classical and pop culture. Finchum-Sung explained how the dynamics of these new measures resulted in the formation of new form of cultural production. The neighbouring countries of Korea undertook several measures to protect their own entertainment industry. Chinese media limited the amount of time for the broadcast of Korean dramas. The government of Vietnam also threatened to ban Korean shows if the number of Vietnamese shows on Korean television was not increased. Taiwan also considered limiting the foreign shows played on national television. All these examples prove that countries were retaliating against the success of Korean wave. 2.6 The Korean Wave in China and Japan The development of the Korean wave phenomenon was most evident in China and Japan because of several reasons. The culture of Korea, China and Japan are very similar to each other. the Korean wave initially began in China, which is the most attractive and profitable market for the Korean products. Japan also happens to be the biggest consumer market of Asia. According to Jung, Japanese TV dramas were creatively transformed for the production of Korean dramas which contributed immensely to the increasing popularity of Korean dramas among young people all over Asia, including Japan and China (Iwabuchi 2008, 153). In fact the concept of Korean wave has generated a new dimension in the one way flow of globalization and researchers have been forced to revise it (Kim Sujeong 2009; Jeon and Yoon 2005). Korean wave is an appropriate example of mutual circulation of cultural values between the non-western countries. It questions the existing theories relating to the belief that information flows from western to non-western countries. According to the imperialism theory, capitalist societies of west have threatened the growth of non-western cultures and have homogenized them. (Schiller, 1976, 1991; Hamelink, 1983; Mattelart, 1984). Even during 1970s the unilateral structure of information flow was based on dependency theory suggesting that information was sent by First World countries and received by Third World countries. In 1980s, some new approaches developed with the growth of media in Korea. These new approaches extended the application of imperialism domination to the field of communication technology. However, this was also criticized by researchers, (Tomlinson, 1989 ; Friedman, Pieterse Hall) according to whom the information was not exchanged unilaterally. The imperialism theory was then replaced by globalization, which promoted a greater understanding of diverse cultures. (Friedman, 267. Pieterse also argues that the impact of non-western culture on west should not be ignored (Pieterse, 307~9). The growth of global television in 1990s contributed significantly to flow of information from Asian economies to western economies. (Barker, 1999). As the media in Asian markets grew, western TV programs were imported to these nations while at the same time TV programs of these nations were exported to western countries. Therefore Chan (2000) addressed that China could be a centre of this unique mass cultural expansion in Asian regions. 2.7 Factors Supporting the Korean Wave in China There are many contextual and textual factors that are thought by researchers to have facilitated the rapid expansion of the Korean wave in China. Contextual factors are all those which consist of the wider aspect of Sino-Korean relationship as well as the various changes in China which helped in the diffusion of Korean culture in China. These factors include the relationship between China and Korea, the cultural exchange in Asia, the reforms in the Chinese culture â€Å"industry† and the Chinese audience. On the other hand, the textual aspect has more to do with the strength of the Korean drama and includes factors like the similarity between the cultures of the two countries (resulting in an emotional involvement) and the fact that the Chinese audience see the Korean cinema as a mixture of traditional values with modern style, which adds to its appeal. CONTEXTUAL FACTORS Contextual factors consist of wide aspect of Sino-Korean relationship as well as varied changes in China, which supported the diffusion of Korean culture in china. Sino-Korean relations and cultural exchange within Asia There have been historical and geographical connections between China and Korea. The reltions between both the countries have been strained sice the communist regime. However in 1992, diplomatic relations improved leading to superior economic and cultural ties. Due to its open policy, china has always permitted the expansion of foreign culture in its region. Many cultures like Japanese, and Taiwan were imported to China.by 1990s, Korean culture also started spreading rapidly in China. China has been a hub of Confucianism for many years. Socialist culture was not a source of satisfaction for Chinese people. Western culture was also not popular among Chinese people. They did not accept Japanese culture