본 연구는 최근 확산되고 있는 한국 사회의 개인주의화가 한국 소비자의 세계주의화와 외국 제품 평가에 미치는 영향을 분석하고자 하는 연구이다. 구체적으로, 본 연구에서는 근대화 이론(modernization theory: Weber, 1922) 을 바탕으로 소비자 개인주의가 소비자 세계주의 성향과 소비자 적대감에 미치는 영향을 검증하고, 이러한 효과가 한국 소비자의 일본 제품 평가에 미치는 영향을 실증적으로 분석한다. 426명의 소비자를 대상으로 한 온라인 조사자료를 분석한 결과, 우선 개인주의 성향이 높은 소비자들은 세계주 의 성향이 높아 일본 제품을 호의적으로 인식하는 것으로 나타났다. 기대와 달리 개인주의와 세계주의 성향이 높은 소비자들의 경우, 일본에 대한 적대감이 낮지는 않았다. 그러나 이들 소비자들은 일본 제품 평가에 있어서는 적대 감의 영향을 받지 않는 것으로 나타났다. 즉 소비자 개인주의와 세계주의는 소비자 적대감의 선행요인은 아니지만, 소비자 적대감의 효과를 완화하는 것이 확인되었다.

본 연구는 20대 소비자의 애국심 정도에 따른 일본 브랜드 구매 행동을 규명하고자 한다. 연구방법은 20대 성인 대학생 235명을 대상으로 설문 조사를 통한 연구를 진행하였고, 설문내용은 20대 소비자의 겉옷과 속옷에 대한 기본적인 구매 태도를 질문한 뒤 대표적인 일본 브랜드 U브랜드의 겉옷과 속옷에 대한 구매 태도를 조사하였다. 그리고 애국심과 U브랜드 구매의 상관관계를 알아보기 위하여 애국심에 관한 질문을 하였고 마지막으로는 기본적인 인적사항을 조사하였다. 연구 결과는 첫째, 겉옷과 속옷에 대한 소비자의 구매 태도에 유의한 차가 있었다. 20대 소비자들은 겉옷을 구매할 때에는 디자인을 가장 중요시 여기고 속옷을 구매 할 때에는 기능성을 가장 중요한 요인으로 선택하였다. 둘째, U브랜드의 겉옷과 속옷에 대한 소비자들의 태도가 다른 점이 확인되었다. U브랜드의 겉옷 디자인에 대한 평가는 다소 긍정적이진 않으나 가격에 만족하는 경향을 보였고 U브랜드의 속옷제품의 기능성에 대한 점수는 다소 긍정적인 응답을 얻었다. 셋째, 애국심 평균을 기준으로 고저집단으로 나누어 t-test 분석한 결과, U브랜드의 의류 제품에 대한 태도와 구매 특성에 유의미한 차이를 보였다. 고애국심 소비자가 저애국심 소비자보다 U브랜드 겉옷 제품에 대해 가격과 상품성 등을 부정적으로 생각하였는데, 디자인의 평가에서만 유의한 차이가 없었다. 속옷제품에서는 저애국심 소비자는 고애국심 소비자보다 U브랜드 제품의 가격, 디자인, 기능성 등에 대해 긍정적으로 생각하고 있었다.

Although milk, which is a representative western food, has a more than 100-year history in Korea, the preference is controversial. This study examined the milk history of Choseon in 1884~1938. This period was divided into 4 periods regarding the westerner’s records and advertisements. Westerners who visited Choseon in 1884~1895 (1st period) recorded the eating habits of Choseon,i.e., no milk consumed, even in insufficient food situation. Among the westerners, medical missionaries began to show or/and recommend condensed milk for sick children. In 1896~1909 (2nd period) newspapers, general shops in Hanseong for westerners showed advertisements of dairy products. In the 1900s, condensed and raw milk were advertised through newspapers. Domestic ranching systems to produce raw milk were established at that time mainly by Japanese. In the 1910s (3rd period), raw milk and condensed milk were advertised in newspapers. Since the mid-1920s (4th period), dairy products were bisected into condensed and powdered (dried) milk. Moreover, many Japanese manufacturers appeared in the advertisement in the 1920s. These results suggest that milk has been recognized as a symbol of an enlightenment food in Korea since the late 1900s, but the old negative wisdom, unfamiliar taste, and high price of milk at that time limited its appeal.

후쿠시마 원자력 발전소 사고 이후 한국 정부는 일본북부지역에서 생산되는 수산물 수입을 금지하였다. 한국과 일본 사이 수산물 분쟁은 아직 진행중이며 소비자들은 식품안전에 위협을 받고 있다. 이 연구는 소비자의 일본수산물에 대한 위험인식과 위험행동에 영향을 미치는 요인들을 밝히기 위함이다. 이를 위해 2012년 9월부터 10월까지 1,500명의 성인을 대상으로 설문조사를 수행하였다. 분석결과 일본산 수산물에 대한 위험인식에서 감정의 역할이 확인되었는데, 일본산 수산물에 대해 부정적인 감정을 느끼고 있는 개인은 해당 제품에 대한 위험 인식이 높았다. 또 부정적인 감정은 수산물 구입행동에도 영향을 미치는 것으로 나타났다. 한편 운명주의적 성향은 수산물 구입행동에 유의한 변수가 아닌 것으로 나타났다.

The purpose of this study is to consider what influence creative content industry imports in emerging countries have on the formation of images of the country of origin. Japanese animation and games, as well as Korean pop music and movies are highly welcomed in many countries (Douglas 2002), especially in the emerging countries of Asia. Seeing such global successes, the Japanese government has adopted the "Cool Japan" policies promoting Japanese creative industry products, ranging from comics, fashion, music, animation and games to characters. Creative industry products, such as Hollywood movies, are also popular in many countries (Craig et al. 2005). Globalization of creative industry products has been a popular topic for many scholars in different disciplines, including cultural anthropology (e.g., Allison, 2006), sociology (e.g., Dowd and Janssen 2011), cultural studies (e.g., Lash and Lury, 2007), and cultural policy (e.g., Crane, Kawashima, and Kawasaki, 2002). However, although global marketing has been an important theme in the discipline for years (e.g., Zou and Cavusgil 2002), the globalization of creative industries has not received enough attention from marketing scholars with a few exceptions (e.g., Matsui, 2009). The reason marketing scholars have not had much interest in creative industries is that the synergy with other manufacturing or service industries has been unknown. Due to the same reason, “Cool Japan” and “Korean Boom” are not directly designed to promote emerging countries' manufactured goods/services. Has there been empirical improvement in the brand image of Japanese or Korean automobiles and digital devices in countries where Japanese animation or Korean pop music is pervasive? We used data from Hakuhodo Global Habit 2013 to verify this hypothesis. It is a series of consumer surveys conducted by Hakuhodo Inc., the second largest advertising agency in Japan. It is one of the largest global consumer survey databases conducted yearly in Japan, and includes consumer surveys from 36 major cities worldwide. In each city, approximately 800 participants are randomly selected and asked about 900 questions regarding their product purchases and preferences, product ownership, daily activity, media usage, hobbies, value systems, and demographic profile. Respondents are in the upper or middle-class segments of each country. Due to its large sample size and stable survey procedures, we consider Hakuhodo Global Habit 2013 reliable enough for academic statistical analyses. From the database, the consumers' preference ratio for four types of creative content including animation, manga, music, television dramas, and movies of foreign origins were used in ascertaining the degree to which creative industry products were received in thirteen emerging countries’ cities: Jakarta, Singapore, Seoul, Taipei, Delhi/Mumbai, Hong Kong, Kuala Lumpur, Bangkok, Yangon, Ho-chi-minh city, Manila, Beijing/Shanghai/Guangzhou, and Moscow. The originating countries are Japan and Korea. Respondents were chosen using stratified sampling by gender and age. They were asked to choose countries from which they preferred content (multiple answers allowed). They were also asked about Japan and Korea, and whether or not there was an image of either as a production area for any of 14 types of manufactured goods and services (consumer electronics, digital devices, automobiles, fashion, luxury goods, furniture, animation, tourism, sports, movies, music, food products, medical products, and cosmetics) (multiple responses). For both Japan and Korea, we analysed partial correlations between the degree of reception of four types of creative content in 13 cities and the image of the production area for 14 types of products. Also, we analysed simple correlations among the degrees to which four types of creative content were received. The following three findings were revealed from the results. The overall trends were the same for both Japan and Korea. Finding 1: Reception of animation and manga does not contribute to an improvement in the image of other manufactured products or services. A positive correlation with the reception of animation and manga was found only for the image of the production area for animation, and the correlation was, for the most part, negative concerning the image of the area in the production of the other 13 types of manufactured goods or services. Finding 2: Reception of movies, music, and television dramas contributes to improvement in the image of other manufactured products or services. The other three types of creative content correlate positively with the image of the production area for a variety of manufactured goods and services. In particular, movies had a positive correlation with images for automobiles, furniture, medical products and other types in both Japan and Korea. With regard to television dramas and music, content produced in Japan had a higher positive correlation with the images of other manufactured goods and services than that produced in Korea. Finding 3: Reception of the four types of creative content correlate highly with each other. Consumers receiving Japanese animation were significantly more prone to also receive other Japanese creative content. The same trend was also seen in the results for Korea. The following conclusions were obtained from these findings. The export of Korean movies, television dramas and pop music, which is creative content of the so-called “Korean boom,” is inferred to contribute to branding of Korean digital devices and automobiles. However, we inferred that simply exporting Japanese animation, does not contribute to the branding of Japanese manufactured goods or services. This divergence is inferred to be in the essence of the difference in the current marketing efficiency between the “Cool Japan” strategy and “Korean boom.” On the other hand, we expect that exporting Japanese animation has the influence of increasing reception of Japanese movies, television dramas and pop music, and, moreover, the receipt of Japanese movies, television dramas, and pop music can be expected to contribute to the branding of Japanese manufactured goods and services. In other words, we concluded that exports of Japanese animation indirectly have a favourable effect on marketing activities for Japanese manufactured goods and services. In practice, because of copyright issues, Japanese movies, television dramas and pop music are not able to be as actively exported as Korean movies, television dramas and pop music are. Nevertheless, the influence of Japanese movies, television dramas, and pop music per se is considered to be the same as for those produced in Korea. We inferred that to be the case because the reception of Japanese animation and manga (including pirated versions) underpins such influence. This study used a large amount of quantitative data, and empirically verified the significance in marketing “Cool Japan” and the “Korean boom.” The initial hypothesis was supportive of movies, television dramas and music, but negative for animation. However, it was suggested that although the “Korean Boom” and “Cool Japan” appear to be similar strategies, they have major structural differences.

일본은 ‘네오 재패니스크(Neo Japanesque)’ 전략을 활용한 상품 및 공간 100선을 2006년 발표했다. ‘일본다움’을 강조하는 전략으로 패션 · 디자인 · 자동차 · 테마파크 · 문화상품 등 다양한 분야에서 활용되고 있다. 제품이나 공간을 통한 일본문화의 우수성을 홍보하기 위한 정책이다. 상품에서 문화적 이미지를 표면적으로 입히는 시대에서 벗어나, 일상 제품을 통한 고유문화나 민족의 우수성을 홍보하기 위한 전략이다. 전근대적인 문화상품에 대한 인식과 유통구조, 낙후한 디자인, 마케팅 전략의 부재에서 벗어나 문화상품을 통한 우리 고유문화의 재발견을 통해, 가치를 높여 갈 문화상품 산업정책이 필요하다. 특히 지방정부가 전문 디자이너와 경영자, 지역의 학자 등 ‘문화연대’를 통해 지역의 가치와 도시의 브랜드를 높일 수 있도록 지원과 다양한 기회를 만들어 가야 한다. 상품이나 공간에 스토리텔링과 독특한 문화의 거리를 조성하고 상설 전시·판매와 프리마켓 운영과 지역 축제와 함께 연계 하는 모델이 있어야 한다. 제품이나 공간 등 생활 속에서 문화의 우수성을 느낄 수 있도록 문화상품 디자인과 축제나 박람회를 통한 다양한 문화 체험 및 홍보 효과가 극대화 할 수 있어야 한다. 우리 고유의 문화를 자연스럽게 체험 할 수 있는 ‘문화상품다움’를 통해 자긍심과 홍보를 극대화 할 수 있는 모델이 있어야 한다.