ScholarWorks@Hanyang University ERICA Campus: Kim, Kenneth Chi Ho

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Kim, Kenneth Chi Ho (김치호)

ERICA 커뮤니케이션&컬처대학 (ERICA 문화콘텐츠학과)

Research Area: 한류, 케이팝, 방송, Hallyu, K-Pop, Media

Tel 031-400-5435
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KPop:8||Hallyu:5||한류:5||Theme Park:3||드라마:3||테마파크:3||OTT:3||Broadcasting:3||OTT 플랫폼:3||방송:3||아이돌:3||Korean Drama:2||텍스트마이닝:2||RACOI:2||MCN:2||Sponsorship:2||성공요인:2||팬덤:2||Text Mining:2||Success Factors:2||협찬:2||컬래버레이션:2||소셜미디어:2||Channel M:2||KCON:2||Idol:2||Fandom:2||CPOP International Training Center:2||YouTube:2||유튜브:2||MAMA:2||문화콘텐츠:2||D2C(DirecttoConsumer):1||Development Activities:1||Digital music:1||Disney:1||Drama:1||Drama Production Company:1||Dynamic Capabilities View:1||Experience theory:1||Fan Event:1||Fashion and beauty:1||Film Music:1||Generational Theory:1||Genre trend:1||Global:1||Google keyword:1||Heuristic:1||Immersion:1||Immersive contents:1||Innovation resistance:1||Interaction:1||KPop Fandom:1||KPop Fandom Contents:1||KPop Fandom Contents Categorization:1||KPop 팬덤:1||KPop 팬덤 콘텐츠:1||KPop 팬덤 콘텐츠 유형:1||Knowledge management:1||Korean Dramas:1||LDA Topic Modeling:1||LDA 토픽모델링:1||Localization:1||Marketing Mix:1||Marvel:1||Media Competition:1||Mixed Reality:1||Monitization Model:1||Music:1||Music industry:1||Music streaming:1||Need for Uniqueness:1||Network Effects:1||OTT Platform:1||OTT Platforms:1||Opinion Mining:1||Participants’ Attitudes:1||Performing arts:1||Planning and Development:1||Podcast:1||Policy Promotion:1||Policy Tools:1||Production Company:1||Q Methodology:1||Q방법론:1||RBV(resourcebased view):1||Regional Channel:1||ResourceBased Theory(RBT):1||Revisit Intention:1||Satisfaction:1||Segmentation:1||Selection Attributes:1||Shanghai Disneyland:1||Smart contract:1||Social Analytics:1||Social Media:1||Social Networks:1||Social media:1||Social participation:1||South East Asia:1||Subjectivity:1||Synergy Model:1||TV Format:1||TV Format Transactions:1||TVING:1||Theme Park Visitors:1||UGC:1||User Centered Contents:1||User Experience Methodology:1||User Experience(UX) 방법론:1||User Perspective:1||VRIO Framework:1||VRIO model:1||VRIO 모형:1||VRIO 분석방법:1||Virtual Reality:1||Webdrama:1||Webtoon:1||World of Warcraft:1||Writers:1||YouTube Platform:1||animation:1||audience:1||career education:1||collaboration:1||culture contents:1||fandom:1||industry linked course:1||mentoring:1||project course:1||resourcebased view):1||가상현실:1||경영전략:1||경쟁우위전략:1||경험이론:1||고객만족:1||광고:1||구글트렌드:1||글로벌:1||기획개발:1||기획개발 활동:1||네트워크 효과:1||대중음악 페스티벌:1||독특성 추구성향 Popular Music Festivals:1||동남아:1||동영상:1||동적역량 관점:1||드라마 제작사:1||디즈니:1||리메이크:1||리저널채널:1||마블:1||마케팅믹스:1||만화:1||멘토링:1||몰입:1||문화산업:1||문화산업 정책:1||미디어 경쟁:1||방송광고매출:1||방송사업자:1||방송포맷:1||비대면:1||비즈니스 모델:1||빅데이터:1||사업구조:1||사용자 측면:1||사회참여:1||산업연계과정:1||상관분석:1||상하이디즈니랜드:1||선택속성:1||세대론:1||세분화:1||소비자행동 Collaboration:1||소셜네트워크서비스:1||소셜분석:1||수익 다각화:1||시너지 모델:1||시민저널리즘:1||시상식:1||실감콘텐츠:1||애니메이션:1||어트랙션:1||영화음악:1||오피니언마이닝:1||월드 오브 워크래프트:1||웹드라마:1||웹툰:1||유튜브 플랫폼:1||음악:1||인터랙션:1||임플로이언서:1||자원준거관점(RBV:1||자원준거이론(RBT):1||작가:1||장르추이:1||재방문의도:1||정책도구:1||정책홍보:1||제작사:1||주관성:1||중국 문화산업:1||증강현실:1||지식경영:1||진로교육:1||창작자:1||채널엠:1||충주시홍보맨 Employencer:1||컨벤션:1||케이팝 Remake:1||콘서트:1||콘텐츠:1||콘텐츠 IP:1||콘텐츠 경쟁력:1||태도:1||테마파크 방문객:1||특성요인:1||티빙:1||팟캐스트:1||패션·뷰티 공연:1||팬덤 idol:1||팬이벤트:1||포맷 거래:1||프로젝트 수업:1||한국 드라마:1||행동경제학:1||향유자:1||향유자 중심 콘텐츠:1||혁신저항:1||현지화:1||혼합현실:1||<Channel M>:1||휴리스틱:1||Advertising:1||Attraction:1||Augmented Reality:1||Award:1||Behavioral Economics:1||Big Data:1||Blockchain:1||Broadcast Advertising sales:1||Broadcaster:1||Business Model:1||Business Strategy:1||Business Structure:1||Cartoon:1||Characteristics Factors:1||China’s Cultural Industries:1||Chungju City’s Promotion Employee:1||Civil journalism:1||Competitive advantage strategy:1||Concert:1||Consumer Behaviour:1||Content:1||Content Competitiveness:1||Content IP:1||Convention:1||Correlation analysis:1||Creator:1||Cryptocurrency:1||Cultural Industries Policies:1||Cultural contents:1||Culture Business:1||D2C:1||

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