LSE KEPF 2013 “Reborn. The Image of Korea” Agenda

 

KEPF 2013 was held on the 30th November, 2013. Below is the full agenda. To view the full speaker profile, please follow http://lsekepf.com/all-speakers/kepf2013/

KEPF2013 POSTER

 


Opening Ceremony

10:05 Opening speech by Head of LSE SU Korean Society

10.05 – 10.10 Introductory speech by Head of KEPF 2013

10.10 – 10.20 Opening speech by HE Mr Sungnam Lim

10.20 – 10.30 Opening speech by Dr Judith Shapiro [LSE]

Political session : The Impact of the Korean Wave, Hallyu , on the Image of Korea

10:30 Keynote: Impact of exporting K-Drama on the image of Korea in the recipient countries 
By Dr Chang Yong Son

11:00 Keynote: Why Korean Wave?
By Professor Keith Howard – SOAS

11:30 Break

11:35 Keynote: Overview of the first spread of K-Drama and its roles in promoting Korea
By Director Sukho Yun

12:05 Panel Discussion with Q&A

12:35 Tea Break with light refreshments

Economic session : The Overview and Prospects of Korea’s Mobile Contents Industry

13:25 Keynote: Overview of the Mobile Apps Industry and prospects of Campmobile’s business
By Mr Mike Won – Campmobile

13:55 Keynote:
By Mr Youngil Park – KOCCA UK

14:25 Panel discussion: Overview and Evaluation of Korea’s Online and Mobile Apps Industry

14:50 *Closing ceremony

15:00 *Reception


On 30th November 2013, LSE SU Korean Society is pleased to present its third annual Korean Economic and Political Forum: “Reborn…the Image of Korea”. The Forum will be divided into two topics, each to be held in the morning and afternoon sessions respectively.

Though until recently, the first image of Korea that would have sprung into one’s mind was the diplomatic tension between the two Koreas, along with South Korea’s miraculous economic development. This focus has been now somewhat shifted to, and reborn as the creative industries of Korea. Through this Forum, we aim to promote a global and in-depth understanding of Korea’s creative industries and their overflow into the rest of the world. Although there is soaring curiosity about the new image of Korea, we believe there are insufficient means to fulfil their interests. By establishing this forum, we will not only able to promote Korea, but also offer its impact on the rest of the world.

Several Asian countries, including Japan, China, and Vietnam have absorbed Korean popular culture since the 90s, and several Korean cultural genres, television programmes and films in particular have become major cultural activities in these countries. But only recently have these cultural activities started to penetrate European and North American countries with popular music. Whilst,PSY’s Gangnam Style filled the streets of London, there was also a visible surge in Western contestants in the Korean audition programmes. Last year, K-pop exports saw an over 300% increase from only three years back. TV programmes also enjoyed a sharp thirty-fold increase in just over 10 years. It is thus undeniable that the Korean Wave is in its ever so important times. The Korean Wave has been unique because it indicates the unusual growth of local creative industries in the midst of neoliberal globalisation.

The Korean Wave has especially experienced a significant change with the development of digital technologies and social media in the 21st century. These digital technologies, as new driving engines of the Korean Wave, have initiated and supported the popularity of local culture in many countries. However, Korea’s online and mobile contents industry has gained a reputation regardless of its connection with the Korean Wave. Korea has been recognised for its high-speed internet connection and high-tech hardwares for long. But were they Korea’s own technologies? Whilst in the past Korea was on the receiving end of these online contents, Korea now takes the lead in these creative industries and exports to the global consumers. Whilst the Koreans enjoyed the Western games and applications in the past, game exports have increase sixteen-fold over the last 10 years. The Korean online game and contents industry has substantially gained status as an empire in the cultural sector and is one of the most significant exported cultural products of Korea. Online contents have become a burgeoning cultural sector with global revenues rivaling those of film and music.

Once peripheral and small, the Korean creative industries have unexpectedly developed their own local cultural products and services, and Korea’s creative industries have been among the most successful contributors to the national economy. Our forum will thus discuss two major topics: for the political session, the impact of Hallyu, the Korean Wave, on the image of Korea; for the economic session, the overview and prospects of the Korean online and mobile contents industry.