CAU Scholar's Space: Lim, Seong Joon

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Lim, Seong Joon (임성준)

경영경제대학 (경영학부(서울))

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Tel 02-820-5566
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Film Making Industry:7||신호이론:7||Environmental Uncertainty:7||흥행요인:6||경쟁전략:5||KPop:5||환경의 불확실성:5||Satisfaction:5||TV Drama Producers:4||만족도:4||디지털 음원:4||Entertainment Industry:4||Signaling Theory:4||Projectbased Organization:4||Genre Variety:4||Social Capital:3||Classical Music:3||Competitive Strategy:3||Contingency:3||Human Resource Usage Pattern:3||KPOP:3||TV드라마 제작자:3||fit:3||기업성과:3||만족:3||선택요인:3||양면적 혁신:3||역동적 능력:3||영화제작산업:3||음원차트:3||적합성:3||클래식 음악공연:3||탐색:3||행동의도:3||활용:3||MCN:2||작품장르의 다양성:2||TFBOYS:2||재관람의도:2||Role Dynamics:2||시청동기:2||satisfaction:2||Cultural Attractiveness:2||SNS:2||signaling theory:2||조직 양면성:2||behavioral intention:2||조직문화:2||조직유효성:2||Entrepreneurship:2||Organizational Effectiveness:2||Kpop:2||competitive strategy:2||한류:2||Perceived Fairness:2||양면적 경쟁전략:2||양면적 조직구조:2||형평성:2||Fandom:2||Adaptive Behavior:2||Performance:2||엔터테인먼트 산업:2||Dynamic Capabilities:2||environment:2||Korean Wave:2||environmental uncertainty:2||문화매력도:2||film industry:2||IPO:2||가치혁신:2||firm performance:2||Korean traditional music:2||경영전략:2||경영환경:2||Ambidextrous Innovation:2||Value Innovation:2||Postmerger Integration:2||Smartphone Industry:2||Snack Culture:2||플랫폼:2||IPTV:2||Exploitation:2||Music Industry:2||Viewing Satisfaction:2||사회적 자본:2||팬덤:2||편승효과:2||유튜브:2||musical record production system:2||프로젝트 기반 조직:2||networking:2||Exploration:2||Web Content:2||Web Drama:2||Purchase Intention:2||음악산업:2||Resource:2||환경불확실성:2||Resourcebased View:2||기술혁신:2||기업가정신:2||인수합병:2||인수합병 후 통합:2||인적자원 활용패턴:2||CJ ENM:2||Resourcebased view:2||M&A:2||Success Factors:2||스낵컬처:2||스마트폰 산업:2||자원준거관점:2||Korean Musical Films:1||Korean TV drama:1||Korean female viewers:1||Korean traditional music crossover:1||Kuai Shou:1||Live Streaming Performance:1||Loyalty:1||Major Production:1||Market Economy:1||Market Entry:1||Merchant fee:1||Miniaturized antenna:1||Mobile Media:1||Motivation:1||Movie Producers:1||Moving Toon:1||Music  Streaming  Service:1||Music Charts:1||Music Performance Agency:1||Music Video Contents:1||Music charts:1||Musician League:1||Naver:1||Netflix:1||Network:1||Network governance:1||New Media:1||Number of Songwriter and Lyricist:1||Number of institutional stockholders:1||OPPO:1||OSMU Content:1||OSMU 콘텐츠:1||OTT:1||OTT Platform Original Drama:1||OTT 플랫폼 오리지널 드라마:1||Online Musical:1||Organizational Ambidexterity:1||Organizational Capability:1||Paid Online Performances:1||Perceived personalization:1||Physical Music Records:1||Planned Economy:1||Platform:1||Popular Music Industry:1||Private Message Service:1||Private education industry:1||Proactiveness:1||Ambidextrous Strategy:1||Projectbased Organizations:1||Revisit Intention:1||Risktaking:1||Role and Position:1||Ambidextrous Organizational Structure:1||Satisfaction and behavioral intentions.:1||Scenario:1||Selection  Factors:1||Selection Factor:1||Selection factors:1||Sense of Unity:1||Service Quality:1||Shinbi Apartment:1||Short Clip:1||Signaling theory:1||<Life is Beautiful>:1||Social Consumption:1||Social Network:1||Strategic Contingencies:1||Strategic Contingency:1||Strategic Performance:1||Strategy:1||Strength of Network Ties:1||Strengths of Ties:1||Stuck in the Middle:1||Sustainable Management:1||TMT demographic characteristics:1||TPB:1||TV Drama:1||Ambidexterity:1||TV 드라마:1||TV 드라마 제작자:1||TWICE:1||Team Creativity:1||Technology Innovation:1||Theory of Planned Behavior:1||Third generation:1||Twosided market:1||Underpricing:1||VAM:1||Value innovation:1||Venture Capital:1||Venture Creation:1||Vertical Integration:1||Viewer Satisfaction:1||Viewing Flow:1||Viewing Intention:1||Weak Tie:1||Webtoon:1||Xiaomi:1||YouTube:1||YouTube  Music:1||Youtube:1||Yuan Xian System(Theater Chain System):1||ambidextrous innovation:1||ambidextrous organizational structure:1||ambidextrous strategy:1||audition program:1||bandwagon effect:1||chart success:1||circular polarization (CP):1||circular polarized antenna:1||contents:1||cover video:1||digital recordings:1||dominant mode:1||entertainment company:1||environmental jolts:1||film performance:1||해설:1||imprinting effect:1||initial resources:1||intellectual property right:1||internal competence:1||internationalization:1||internet VOD theater:1||metaverse:1||motivational factors:1||music chart:1||musical record industry:1||online game:1||online music industry:1||organizational ambidexterity:1||organizational structure:1||performance viewing intention:1||platform:1||preIPO ownership structure:1||production system:1||program components:1||recording industry:1||recordings industry:1||resource based view of the firm:1||selfproduced video content:1||short clip:1||strategy:1||substrate integrated waveguide (SIW):1||success factor:1||success factors:1||survival analysis:1||usediffusion:1||value chain:1||venture firm survival:1||vertical integration strategy:1||viewing motivation:1||viewing satisfaction:1||web entertainment:1||windowing strategy:1||가맹점 수수료:1||가치사슬:1||가치혁신(Value Innovation):1||각인효과:1||Alliance Network:1||계획경제:1||계획적 행동이론:1||공모전 소유구조:1||공연기획사:1||공연예술상품 속성:1||관람만족:1||관람행동:1||구매의도:1||구매의사:1||구성적 요인:1||국악:1||국악 크로스오버:1||국악음원:1||국제화:1||기관투자자 수:1||기관투자자 지분율:1||기대충족 정도:1||기업공개 성공:1||해외직접투자:1||내부역량:1||네이버:1||네트워크 거버넌스:1||네트워크 연결강도:1||네트워킹:1||넷플릭스:1||뉴미디어:1||대중음악산업:1||더우인:1||디세그멘테이션(desegmentation):1||Chinese drama:1||디지털 음원시장:1||딩고뮤직:1||라이브 스트리밍 공연:1||흥행성과:1||만족 및 행동의도:1||메이저 음반사:1||메이저 음반제작사의 경쟁전략:1||메타버스:1||모바일미디어:1||무빙툰:1||문화콘텐츠산업:1||물리적 음반:1||뮤지션 리그:1||뮤지션(가수)의 연속적 활동:1||뮤지컬 영화 구성요인:1||미래 예측:1||방탄소년단(BTS):1||벅스:1||벤처기업의 생존:1||벤처캐피탈:1||분권화:1||블루오션전략:1||비즈니스 모델:1||사교육 시장:1||사용확산:1||사회적 네트워크:1||사회적 소비:1||산업 환경 분석:1||상호 적합성:1||상호작용성:1||상황이론:1||생존분석:1||샤오미(Xiaomi):1||서비스 품질:1||선택속성:1||혁신성:1||성장단계:1||쇼트 클립:1||쇼트클립:1||수직적 계열화:1||시나리오:1||시장경제:1||시청 만족:1||시청만족:1||시청만족도:1||신비아파트:1||신용카드:1||AHP:1||아이돌 양성시스템:1||앙상블 디토:1||애니메이션 산업:1||약한 연결:1||양면성:1||양면시장:1||어중간한 상태:1||엑소(EXO):1||엔터테인먼트 기업:1||혼합 전략:1||역할 및 지위:1||역할 역동성:1||연결강도:1||연관람의도:1||영어 학원:1||영화 산업화 개혁:1||영화산업:1||영화제작 산업:1||화제성:1||영화흥행요인:1||오디션 프로그램:1||오포(OPPO):1||온라인 뮤지컬:1||온라인 음악산업:1||온라인게임:1||외국인투자자 지분율:1||원선제:1||웹 드라마:1||웹 콘텐츠:1||웹툰:1||위험감수성:1||유료 온라인 공연:1||유튜브 뮤직(YouTube Music):1||은행관계:1||음반 산업:1||음반 제작시스템:1||음반산업:1||음악 스트리밍 서비스:1||음악콘텐츠:1||이용 동기:1||인디 뮤지션:1||인디 음악:1||인터넷 VOD 극장:1||일본 음악시장:1||일체감:1||자원기반관점:1||자원기반이론:1||작곡·작사가 수:1||장르의 다양성:1||저작권:1||3세대 아이돌:1||전략적 상황이론:1||제작시스템:1||제품임의인증:1||제휴 네트워크:1||조직구조:1||중국 드라마:1||중국 무빙툰 산업:1||중국 쇼트클립산업:1||중국 아이돌 시장:1||중국영화산업:1||중요도:1||지각된 개인화:1||지속가능경영:1||지속시청의도:1||지속이용의도:1||지원서비스:1||지적재산권:1||진취성:1||창구화 전략:1||창업:1||창업보육센터:1||초기 자원:1||초기성과:1||최고경영자의 특성:1||최고경영진의 특성:1||충성도:1||커버영상:1||콘텐츠:1||콜라보레이션:1||콰이서우:1||크레디아:1||클래식 음악:1||환경의 충격:1||클래식 음원:1||클래식 크로스오버:1||클래식음악:1||<인생은아름다워>:1||트와이스(TWICE):1||팀 창의성:1||파괴적 혁신:1||팬 메이드 온라인 공연:1||프라이빗 메시지 서비스:1||프랜차이즈 가맹점:1||프로젝트기반 조직:1||프리코노믹스(freeconomics):1||BIServices:1||BTS:1||BUGS Corporation:1||Bandwagon Effect:1||Banking Relationship:1||Behavioral Intention:1||Blue Ocean Strategy:1||Box Office Success Factors:1||Business Incubator:1||Business Model:1||Buzzworthiness:1||CEO's management style:1||China’s industrial reform:1||Chinese Film Industry:1||Chinese Idol Industry:1||Chinese Moving Toon Industry:1||Chinese Short Clip Industry:1||Chinese Web Drama Industry:1||AiQiyi:1||Classical Crossover:1||Classical Music Concert:1||Classical Music Concerts:1||Classical Music Performance:1||Collaboration:1||Commentaries:1||Competitive Strategies of Major Productions:1||필름콘서트:1||Components of Musical Films:1||Compositional Factors:1||한국 TV 드라마:1||Continuity of Activities:1||Continuous Use  Intention:1||Credia:1||Credit card:1||Culture Content Industry:1||Desegmentation:1||Differentiation:1||Digital Music:1||Digital Music Contents:1||Digital Music Recordings:1||Digital music market:1||Dingo Music:1||Disruptive Innovation:1||Dou Yin:1||Dynamic Capability:1||EDM Festival:1||EDM 페스티벌:1||ESG:1||EXO:1||English education institute:1||Ensemble Ditto:1||Audience Satisfaction:1||Audience Motivation:1||Expectationfulfillment:1||FDI(foreign direct investment):1||Fanmade online  performances:1||Audience Loyalty:1||Film Music Concert:1||Film industry:1||Firm Performance:1||Fit:1||Foreign investors’ ownership:1||Franchisee:1||Freeconomics:1||Future Forecast:1||Attributes of Performing Art Products:1||Going Seventeen:1||Growth Stage:1||Hallyu:1||한국 뮤지컬 영화:1||Hybrid Strategy:1||IPO success:1||IT:1||IT 가치기반수용모델:1||Idol:1||Idol Training System:1||Importance:1||Indie Music:1||Indie Musician:1||Industrialization Reform:1||Industry environment analysis:1||Influencing Factors:1||Innovativeness:1||Institutional ownership:1||Intellectual Property:1||Intention to Continue Watching:1||Intentions to Rewatch:1||Interactive Drama:1||Interactivity:1||Japanese music market:1||한국 여성 시청자:1||KPOP challenge video:1||KPOP 챌린지 영상:1||Animation Industry:1||

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